Six The Musical – Arts Theatre

Picture: Idil Sukan

Six The Musical continues at the Arts Theatre, London until 14 October 2018.

Star rating: four stars ★ ★ ★ ★ ✩

The first time I knew of the existence of Toby Marlow and Lucy Moss’ Tudor-inspired pop musical Six was when it was nominated for Musical Theatre Review’s inaugural Best Musical Award at last year’s Edinburgh Fringe. At the time our reviewer wrote: “Six is the fiercely revamped, musical history lesson I never knew I craved and a Fringe must-see.”

Its return to Edinburgh this summer was greeted with sell-out houses and a stream of five-star reviews and its transfer to the Arts Theatre (before a short tour) has been met with a similar response. So, as I prepared to see the show for the very first time, I couldn’t help but have high expectations. I am pleased to report, with a few tiny caveats, I was not disappointed.

The uber-talented Marlow and Moss have pulled off quite a coup by coming up with a brilliant idea, using history (or ‘her’story) to comment on contemporary society, and then executing that concept in the most modern of ways.

Anyone coming along wishing to discover a great deal more detail about Henry VIII’s six wives – Jarneia Richard-Noel’s Catherine of Aragon (Divorced); Millie O’Connell’s Anne Boleyn (Beheaded); Natalie Paris’ Jane Seymour (Died); Alexia McIntosh’s Anna of Cleves (Divorced); Aimie Atkinson’s Katherine Howard (Beheaded); Maiya Quansah-Breed’s Catherine Parr (Survived): might be a tad disappointed, but if they’re not curious to find out more on leaving, I’d be very surprised.

The whole premise of this very self-referential, interactive show grabs an audience from the extremely infectious opening number. These women are smart and sassy with stacks full of attitude and they want to find out who deserves to be crowned the most important wife of all.

The obvious way to do this, of course, is for each Queen to have their own solo via an X Factor-style sing-off. In the end, the Six decide the last thing they should be doing is trying to compete against each other. Perhaps Henry VIII is remembered because of them and not the reverse?

Granted, this is a hugely simplistic way of looking at these complex historical events, and the banter over beheadings and miscarriages does jar on occasions, but the material and the fabulous way it is performed means that the ultimate message of the piece is compelling.

I felt pretty empowered watching the all-female cast and band (led by MD Katy Richardson) telling these stories, I can’t imagine how I would have reacted if I had seen this as a teenager.

It is an impossible task to pick out any individual performance as each actress makes a massive impression with their phenomenal vocals and skill at creating a recognisable character in such a short period of time. It’s also a huge treat to see the performers at this point in their journey when their onstage chemistry is at its peak and they are riding on the wave of a hit. There were obviously members of the audience that had seen the show more than once. And I don’t blame them.

This onstage chemistry is very much enhanced by the slick and sophisticated work of directors Lucy Moss and Jamie Armitage and choreographer Carrie-Anne Ingrouille. When the Six are belting out their group numbers and strutting their stuff in unison it is goosebump-inducing stuff.

I suppose the greatest compliment I could pay the score is that I can’t wait to hear all of it again as soon as possible. Not every number is as effective as the next, and the musical pace slightly dips in the later stages of the 75-minute show, but on the whole, the lyrics are witty (packed with plenty of references younger members of the audience will recognise) and the melodies are modern and memorable. Some of the compositions feel like perfectly formed pop songs (I wouldn’t be surprised if the songwriters get a call from the powers-that-be at Eurovision one of these days – I kid you not!).

It’s also a good thing that the creators of Six didn’t try to extend the length of the show for its London run and tour. It’s just right as it is. As it stands, the piece doesn’t have the light and shade and emotional pull of a Hamilton, but the way it combines history, modern musical styles and a timely message of female empowerment is pretty powerful.

I have a feeling that Six may be around for a good while to come and in the process will establish a well-deserved cult following.

Lisa Martland