Featuring six incredible solos, three group numbers and platform-heeled boots, “SIX” is a reimagined take on the story of the marriages of Henry VIII. The show centers around the well-known phrase regarding the king’s wives — divorced, beheaded, died, divorced, beheaded, survived. In this production, Henry VIII’s former wives take history into their own hands, performing their stories so the audience can decide once and for all who endured the worst treatment from his royal highness. Co-directed by Lucy Moss and Jamie Armitage and choreographed by Carrie-Anne Ingruille, PNC Broadway Pittsburgh began its run of the iconic musical this past Tuesday at the Benedum Center for The Performing Arts.
“SIX” tells the stories of Catherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cleves, Catherine Howard and Catherine Parr — or rather, they tell the stories themselves — primarily through musical numbers with brief dialogue between each song. The band was composed of only four members — Emily Davies playing bass, Rose Laguana on guitar, Camila Mennitte Pereyra on drums and musical director Valerie Maze on the keyboard. The band was set further upstage and more elevated than the actors, contributing to the feeling that the production was more of a concert than a musical — something that ties in well with the plot of the show.
The actors break the fourth wall during the performance, often asking the audience for their general thoughts on Henry VIII and even engaging directly with an audience member, getting them to stand up and dance during the show. Audience interaction is another factor which successfully contributes to the illusion that audience members were viewing a competition show between the wives rather than a musical.
Actors Emma Elizabeth Smith, Anna Hertel, Kelly Denice Taylor, Hailey Alexis Lewis, Alize Cruz and Tasia Jungbauer each had stellar performances. “SIX” was an impressive display of their talent, stamina and skill as vocalists and performers, and they executed the show beautifully, keeping the audience absolutely captivated throughout the performance. Songs “Ex-Wives” and “Six” are standout songs in the show, starting and finishing the performance, respectively. During these group songs, the actors harmonize seamlessly while performing a complex dance number — a true testament to their individual talent.
The scenic design by Emma Bailey is integral in bringing the 500-year-old story to life. Behind the actors and band stands a metallic structure adorned with neon lights designed to appear as if it were the inside wall of a church — a feature that seamlessly brings the Tudor period into the context of a modern-day pop concert.
The musical features very few props — the most important being the microphone each wife holds throughout the show. The wives’ microphones serve as yet another necessary aspect in establishing the show’s concert narrative.
The outfits adorning each actor, designed by Gabriella Slade, are incredibly meaningful in the case of “SIX.” With each wife wearing bright and bedazzled clothing, a headpiece designed to look like a crown, platform boots and fishnets, the costumes embrace elements of Tudor fashion while revamping them in a way that establishes the upbeat, modern and edgy themes of the musical.
Overall, the performance’s narrative is incredibly creative — within the first few minutes, the wives explain that they’re about to compete in front of the audience so that they can decide who endured the worst of it from Henry VIII. As the show progresses, the wives come to acknowledge that their stories are just that — theirs. “SIX” offers an important lesson on reclaiming a broken narrative and celebrating individual strength, and it does so in a fantastic display of glamour, vocals and energy. The efforts from the cast and crew made for a fun and thoroughly enjoyable viewing experience, and the high-quality of the performance is undeniable.
