Reviewed by Jess Green
Ticket was gifted in return for an honest review
Ticket was gifted in return for an honest review
If the rumour is true, that the average man thinks about the Roman Empire multiple times every day, then the female equivalent must surely be the pondering of Henry VIIIs six wives. The sextet still has the us gripped to this day, appealing to the gossip-lovers, the true-crime fans and the feminists just as much as the historians themselves. It’s no wonder then, that when jazzed up with witty musical numbers, rhinestones and female subversion, this Tudor tale has gained an almost cult following over its six year run.
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| Photo by Pamela Raith |
This new cast are sublime. The range of regional accents featured, really help to soften the numerous chatty sections, which when heard in unrelenting received pronunciation, can edge very slightly into cringe territory. The diversity in the cast feels like a genuine representation of both the wider theatre industry, but also Henry’s varied choice of wives.
Nikki Bentley feels synonymous with Aragon, her long-standing West End experience mirroring the lengthy queenship of Catherine and the powerhouse voice that carried her through her recent stint as Wicked's Elphaba commanding the stage.
Thao Therese Nguyen's performance brought an almost cartoon-like joy and humour to Anne Boleyn with youthful exuberance in her dance moves and expressions.
It's an utter delight to see Kayleigh McKnight shine as Jane Seymour, her phenomenal vocal talent being given its deserved platform after many years of being a stalwart of the West End ensemble. She commanded attention throughout the show and I found her comedic expression to be genuinely hilarious.
Anna of Cleves, typically depicted as rather sensible, became deliciously cocky and sarcastic under the supervision of Reca Oakley. Her fiercely sexy vocalisation of the lyric dirty rascal has been circling my brain since the curtain call.
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| Photo by Pamela Raith |
Inez Budd, I thought warmed up throughout the show, settling into her body and her humour. By All You Wanna Do she a is brilliantly intuitive Katherine Howard, emotively transforming from a validation-seeking young girl to a plagued, sexualised woman all under the famous pink Ariane Grande-esque ponytail.
I felt that Janiq Charles went a little under the radar in the earlier parts of the show, not hugely pulling focus despite being a very skilled dancer. This might be indicative of playing Catherine Parr, the Queen with arguably the least substantive character arc, but she nevertheless came into her own during her rendition of I Don't Need Your Love, which was vocally stunning.
The showcasing of these women, is remarkably helped along by the all-female, on-stage band and the fantastical costuming of Gabriella Slade. The costumes not only provide a spectacle, but cleverly platform the roots and characteristics of each queen, all whilst highlighting Carrie-Anne Ingrouille's ingenious (and unrelenting) choreography.
Created by Toby Marlow and Lucy Moss, this show combines fun with female empowerment and glitter with grit. It crafts a stunning spectacle whilst cleverly combining history, politics and womanhood in the wittiest way. This show is truly a jewel in the crown of the West End and this new cast does justice to a piece of theatre which I imagine, will reign supreme for many years yet.
⭐️⭐️⭐️⭐️⭐️
Six continues at London’s Vaudeville Theatre with tickets available from https://www.sixthemusical.com/. The musical also plays on a UK and Ireland Tour, on Broadway and internationally.
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| Photo by Pamela Raith |
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