The Gala performance of SIX drew an eclectic crowd as the infamous tale of King Henry VIII’s six wives was retold from the perspective of the women that history remembers more for the man they all married than for the people they were. This high-octane retelling packeda punch with catchy tunes and powerhouse performances that reclaimed the narratives of these women who have been undermined, ignored and vilified through time.
But SIX is more than just a history lesson. Its return to Sydney marks the indelible impact of the musical, not just because of the feminist lens that reframes the way we view these iconic women who shaped the past, but also because its playful and innovative metatheatrical style that subverted expectations to offer a fresh and lively disruption of traditional musical conventions andengaged the audience on multiple levels.
Written by Toby Marlow and Lucy Moss, SIX was more rock concert than musical, with pop-inspired numbers rocketing these Queens firmly into the 21st century. Thestage band was on fire – Claire Healy as Music Director/Keys was fully charged along with Assistant Music Director/Keys Heidi Maguire, Kathryn Stammers on Drums, Danielle Colligan on Guitar and Ann Metry on Bass. In combination with Emma Bailey’s tech-smart set design fusing gothic and pop elements, an electrifying atmosphere was established, and Tim Deiling’s masterful lighting complemented the pulsating musical score.
The enigmatic ensemble cast who resembled a Spice Girls-esque pop band, created a spirited portrayal of theQueens who regardless of their relegation in status to‘divorced, beheaded, died or survived’ all had their own stories to tell. The premise that these women were competing to determine who suffered the most might be a touch macabre, but it skilfully presented the chance for each Queen to shine, with a spotlight placed on each character’s individually while they sang of unimaginable matrimonial suffering. Costume Designer Gabrilla Slade struck the right balance between the Tudor England and today. Her mash up of corsets and crystals, chokers and chains resulted in fierce and independent heroines who commanded the stage, overthrowing establishedportrayals of the Queens in favour of more nuanced and evocative iterations.
The dynamic cast presented a lively show that resonated with an audience that crossed all ages. Each wife had their moment to flex their vocal range with a song list that evoked a range of modern divas from Beyonce to Britney. SIX proved that the whole of a musical with catchy songs like, ‘Don’t Lose Ur Head,’ ‘Get Down’ and ‘I don’t need your love’ is worth more than the sum of its parts. Kimberley Hodgson who played the role of Henry VIII’s first wife Catherine of Aragon, captured our attention with her regal demeanour while second wife Anne Boleyn, played by Deirdre Khoo offered irreverent one liners and excellent comic timing to shine bright. Loren Hunter as the loyal third wife Jane Seymour provided a momentary tonal shift as her absorbing rendition of ‘Heart of Stone’ gaveaudiences a chance to catch their breath. Zelia Rose Kitoko played Anna of Cleves, adding a level of sass that would have made any school history lesson far more entertaining. The role of the fifth wife, Katherine Howard was played with vulnerability by Chelsea Dawson and Giorgia Kennedy played Catherine Parrwith grace and dignity to bring the show towards it uplifting celebrating sisterhood in the face of institutionalised patriarchal systems.
SIX has received worldwide acclaim, and Sydney’s Gala performance left audiences dazzled by this refreshing take on history that serves to bridge the gap between the past and the present, pushing the boundaries of musical storytelling to celebrate these remarkable women for who they were, not for who they married.
SIX is playing at Theatre Royal Sydney until December 28 2024
Production photography James D Morgan
