SIX the Musical is a sassy spectacle that shines even if the feminism may feel too simplistic
Step aside, the new breed of musicals is here… and it’s female.
‘SIX the Musical’ is an electrifying retelling of King Henry VIII’s six wives, framing their stories as a high-energy pop concert.
With its powerhouse vocals, witty lyrics, and infectious beats, it’s easy to see why this show has become a global sensation, winning several international accolades including two Tony Awards.
Clocking in at just 90 minutes with no intermission, ‘SIX’ breaks away from the conventions of traditional musicals by offering a streamlined spectacle that appeals to younger, pop-savvy audiences.
Photo courtesy of Pamela Raith Photography
The show — created by Toby Marlow and Lucy Moss — bursts onto the stage with six queens clad in glittering Tudor-meets-pop-diva outfits, belting out chart-worthy tunes inspired by modern icons such as Beyoncé and Ariana Grande.
The six queens compete to prove who suffered the most, reinterpreting their historical tragedies with humour, defiance, and fierce individuality.
But while undeniably entertaining, its feminist perspective can feel more sizzle than substance.
A feminist narrative that tries
The musical’s unapologetic revisionism is its biggest strength — and weakness.
Like ‘Hamilton’ or Bridgerton, ‘SIX the Musical’ thrives on anachronism, delivering modernity through its music and dialogue. The audience is treated to energetic choreography, a dazzling light display, and a killer all-female onstage band.
These elements, along with the snappy format, make it a surefire hit, particularly with younger audiences who have TikTok-length attention spans. It’s no surprise the show has its own dedicated Wiki Fandom.
Photo courtesy of Pamela Raith Photography
Thematically, ‘SIX’ rides on the coattails of feminism, presenting the queens as empowered figures reclaiming their narratives. It’s a refreshing counterpoint to the historical misogyny often perpetuated in musicals.
Yet the feminism in ‘SIX’ is undeniably simplistic, offering empowerment without much introspection. The songs — while catchy and expertly performed — can occasionally be syrupy or one-dimensional.
But then again, the show leans heavily into the aesthetics of pop culture, where simplicity often reigns.
Photo courtesy of Pamela Raith Photography
There are empowering moments, yes, but they paint historical suffering in glossy, triumphant tones. It’s a thrilling spectacle but does little to interrogate the deeper patriarchal structures that shaped these women’s lives.
Still, it’s a step in the right direction, proving that feminist themes can thrive in commercial theatre.
The performances are the real crown jewels
What ‘SIX’ lacks in narrative complexity, it makes up for in talent. Each queen delivered powerhouse vocals and an electric stage presence.Â
Billie Kerr’s portrayal of the fiery Catherine of Aragon radiated strength and defiance.
Channeling Beyoncé, Kerr’s ability to convey Catherine’s anger at being cast aside while maintaining a sense of dignity made her performance riveting, setting a powerful tone for the show.
Photo courtesy of Pamela Raith Photography
In her professional debut, Yna Tresvalles embodied the mischievous and flirtatious Anne Boleyn. With cheeky delivery and sharp comedic timing, her rendition of ‘Don’t Lose Ur Head’ balanced the humour and tragedy of Anne’s fate.
Photo courtesy of Pamela Raith Photography
Liberty Stottor’s velvety alto voice brought gravitas to ‘Heart of Stone’, a ballad that showcased Jane Seymour’s unyielding devotion to Henry.
While Jane’s character lacks the flamboyance of her fellow queens, Stottor imbued her with emotion and dignity, making her performance poignant and heartfelt.
Photo courtesy of Pamela Raith Photography
Hannah Victoria was a force of nature as Anna of Cleves.
Decked out in studded attire and thigh-high boots, her swaggering performance of ‘Get Down’ brought the house down.
Her commanding presence and infectious energy electrified the stage, making her the most captivating performer of the night.
Photo courtesy of Pamela Raith Photography
Lizzie Emery delivered a layered performance as Katherine Howard, starting with playful coquettishness in ‘All You Wanna Do’ before exposing the character’s underlying pain.
Her interpretation shifted seamlessly from charm to vulnerability, making her portrayal both compelling and tragic.
Photo courtesy of Pamela Raith Photography
Eloise Lord’s Catherine Parr exuded a quiet strength and intelligence befitting the queen who survived Henry.
Her performance of ‘I Don’t Need Your Love’ was delivered with conviction and her portrayal underscored Parr’s resilience and intellect, reminding the audience that even in survival, there is a fight for agency.
Photo courtesy of Pamela Raith Photography
A fun, feminist pop extravaganza
‘SIX the Musical’ thrives on its humour, energy, and star-studded performances. Its modern approach and vibrant celebration of female talent make it a standout in today’s theatre.
Musicals — and history — have not been known to be kind to women, often relegating them to roles of victimhood or romantic fodder.
Here, they take centre stage — not as tragic figures but as empowered, cheeky, and unforgettable performers. If its feminism feels simplistic, that’s perhaps the nature of the medium.
Photo courtesy of Pamela Raith Photography
While it doesn’t offer much in the way of complexity, ‘SIX the Musical’ is a crowd-pleaser that reinvents history with sass and sparkle.
For those looking for depth, it might leave something to be desired. But as an unapologetically bold spectacle, it succeeds in rewriting the narrative — on its own fabulous terms.
Also read: Hamilton in S’pore: A clever romcom disguised as an American period piece
Hamilton in S’pore: A clever romcom disguised as an American period piece
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Featured image adapted from images by Pamela Raith Photography.
