“Divorced, beheaded, died. Divorced, beheaded, survived.” The plot of the hour-and-a-half long musical, SIX, can be summed up in these few words, but the seemingly impossible relatability between 21st century audiences and these 16th century women can’t be.
SIX opened at Bass Concert Hall on Tuesday and will run through Jan. 25 as part of Texas Performing Arts Broadway in Austin. Recounting the stories of King Henry VIII’s wives, but with a musical twist, the show blends modern pop music and feminist takeaways with some of history’s most famous wives. The compelling performances by all six leading ladies made for an unforgettable show, more akin to a rock concert than a traditional musical.
Moving in chronological order of Henry VIII’s marriages, each former queen performs a solo song with the intention of convincing the audience that her marriage was the worst. Unlike most musicals, where the audience takes on a passive role, with SIX, the plot itself hinges on participation and breaking the fourth wall, as the Queens directly address the crowd and invite the audience to clap and dance along.
The first of these solo songs, “No Way,” tells the story of Catherine of Aragon, played by Emma Elizabeth Smith. Smith’s ability to switch between her impressively deep lower register and high, complex vocal runs made for one of the evening’s strongest vocal performances as audiences learned how Henry VIII’s first marriage ended in infidelity and divorce.
The following performance, and marriage, of the infamous Anne Boleyn, played by Nella Cole, poked cheekily at Boleyn’s untimely demise with the song “Don’t Lose Ur Head.” Cole’s acting skills shone through her singing, delivering an impressive performance of a rather dense plot. From her affair with the King to the creation of the Church of England and eventual beheading, Cole’s performance as Boleyn managed to fit such a wide range of emotions into one, cohesive song.
The actors played with dynamics and tone in a delightful way, switching from Kelly Denice Taylor’s heartfelt ballad, “Heart of Stone,” as Jane Seymour to the apex of playfulness, “Haus of Holbein.” The juxtaposition of a song about lost love and dying in childbirth to a German-inspired electronic ensemble track made for a real crowd pleaser due to its silly nature cut by lyrics focusing on unattainable beauty standards for women.
SIX’s ability to make deeply historical topics relevant through humor and trite observations proves the musical’s greatest strength. While these historical women faced beheadings and other seemingly unrelatable struggles, the lyrics of tracks like “All You Wanna Do,” performed by Alizé Cruz and recounting Katherine Howard’s marriage, connect modern audiences to these Queens through dark, prevalent female experiences. The lyrics focus on relationships marked by abuse and predatory behavior, using the sonic profile of popular music to highlight how these historical struggles remain relevant.
While smart writing gives SIX an edge, what sets Tuesday night’s performance apart from most shows resides in the pure joy and talent emanating from each of the actresses. The harmonies in the final song, “Six,” exemplify the ensemble’s talent, while individual performances bring out an impressive level of humor and comedic timing. After “remixing,” or rewriting the fates of each wife, SIX ends with the audience on their feet, feeling connected to these ladies who lived around 480 years ago. Maybe it’s their surprising knowledge of Tinder or subtle nods to pop icons like Beyoncé, but SIX and its actors make the audience feel as though they can relate deeply to the six women who once called Henry VIII their husband.
Four and a half wives out of five.
