Review: SIX at The National Theatre

A Renaissance of energy, color, and sparkle has emerged at The National Theatre this week as the North American tour of the smash-hit musical SIX, by Tony Award winners Lucy Moss and Toby Marlow, opened this past Tuesday. The production, which has garnered near-Swiftian popularity in Broadway circles and beyond, puts a contemporary spin on the (mis)fortunes of King Henry VIII’s six wives. 

“Divorced, beheaded, died, divorced, beheaded, survived” are the fates of our female royalty, and it’s a refrain you won’t soon forget. It’s also an effective mnemonic for students cramming for a Renaissance history test, I might add. Who says theatre isn’t educational?

There’s much to love about SIX, and its origins are as inspiring as its energy. Writers Marlow and Moss famously dreamed up the concept while students at the University of Cambridge. The show premiered at the 2017 Edinburgh Festival Fringe, caught the eye of West End producers, and the rest, as they say, is history—or, in this case, “her”-story. Since then, SIX has won multiple awards, toured the globe (including a triumphant Broadway run), and even headlined a cruise ship’s entertainment lineup. 

In an industry often reliant on recycling “sure-thing” titles from television or film, SIX is a refreshing burst of originality—a seamless blend of creativity and sheer fun. The show’s brisk 90 minutes are packed with energy, humor, and heart, though be warned: you might just laugh your head off.

SIX unfolds in a playful alternate reality where Henry VIII’s wives reunite for a one-night-only rock concert. Imagine if the Spice Girls put their own spin on FOREVER PLAID after binge-watching HAMILTON on Disney+. 

The structure is rather simple: each queen steps forward for a star turn, sharing her story with the audience. We begin with Catherine of Aragon, Henry’s first wife, whose journey is chronicled in the defiant anthem “No Way.” Henry’s brazen affair with Anne Boleyn unfolds before her very eyes—he even moves Anne into the castle! Anne’s response? The delightfully irreverent “Don’t Lose Your Head,” a rollicking bop that captures the essence of a 16th-century social media influencer channeled through Avril Lavigne. 

Next comes Jane Seymour, history’s “only one he truly loved.” Her touching ballad, “Heart of Stone,” showcases Jane’s steadfast devotion and the true love that she shared with the oft-married king - not to mention it’s a chance to experience the soaring vocals of Kelly Denice Taylor. It’s a rare moment of tenderness amid the show’s high energy. 

Then it’s off to the “Haus of Holbein,” where Anna of Cleves steals the spotlight with her swaggering “Get Down.” Despite her isolation, Anna enjoys an unprecedented level of freedom—though perhaps more due to an infamous portrait mishap than Henry’s generosity. In the age of filtered selfies and strategic angles on dating apps, her predicament feels oddly relatable. 

Katherine Howard’s story takes a darker turn with “All You Wanna Do,” a seemingly playful number that reveals the predatory behavior she endured from a music teacher as an adolescent. While the tonal shift is jarring, Alizé Cruz’s performance brings depth to a difficult moment. 

Finally, Catherine Parr rounds out the evening with “I Don’t Need Your Love,” transforming the queens’ shared history into a powerful anthem of solidarity. While the plot remains thin, the show still produces just enough emotional resonance and infectious energy to carry the day.

Directors Lucy Moss and Jamie Armitage lean heavily into the rock concert aesthetic, creating an un-apologetically modern lens for this historical tale. Carrie-Anne Ingrouille’s tight, pop-inspired choreography adds to the high-octane vibe, ensuring the production feels both cohesive and celebratory. 

Though each queen shines in her solo moments, the cast truly excels as an ensemble, delivering performances that are dynamic, spirited, and irresistibly fun. Chani Maisonet sets the tone as the commanding Catherine of Aragon, while Gaby Albo’s Anne Boleyn dazzles with her razor-sharp comedic timing. Kelly Denice Taylor’s heartfelt Jane Seymour is a vocal standout, and Danielle Mendoza’s Anna of Cleves exudes charm and confidence. Cruz navigates the complexities of Katherine Howard with skill, and Tasia Jungbauer’s Catherine Parr provides a commanding conclusion to the evening. Together, these performers are electric, proving that the power of six is far greater than one.

For DC audiences, SIX offers a welcome escape. Its infectious energy and empowering message are the perfect antidote to the stresses of the outside world. Whether you’re a longtime fan or a newcomer, this tour is a must-see.  

The creative team for the production includes the following: Lucy Moss & Jamie Armitage (Co-Directors), Carrie-Anne Ingrouille (Choreography), Emma Bailey (Scenic Design), Gabriella Slade (Costume Design), Tim Deiling (Lighting Design), Paul Gatehouse (Sound Design), Tom Curran (Orchestrations), Gaila Backal (Associate Director), Eliza Ohman (Associate Choreographer), Lizzie Webb (Music Director), and Jay Carey (Production Stage Manager).

There’s also a special shout-out in order for the Ladies in Waiting, which is the cleverly-named all-female band. The Ladies include Lizzie Webb (Music Director/Keyboard), Emily Davies (Bass), Rose Laguana (Guitars), and Camila Mennitte Pereyra. This group absolutely rocks! 

SIX runs at The National Theatre through December 2, 2024. With a runtime of 90 minutes, it’s a glittering burst of joy you won’t want to miss.

Photo Credit: The North American Tour of SIX (Boleyn Company). Photo by Joan Marcus.

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