Her-story Is About to Be Over-throne

Six, The Musical – Broadway in Chicago

Divorced, Beheaded, Died, Divorced, Beheaded, Survived. Sound familiar? this is the rhyme taught to history students to help them remember the fate of each of Henry VIII’s six wives. It also happens to be the opening lyrics of “Ex-Wives,” the haunting musical number that launches this exciting, eye-popping theatrical spectacle. It’s sung by the six bodacious babes whose greatest claim to fame is that they were all married at one time to Britain’s notorious Henry VIII. But the ladies want to be known for more than that.

That’s the premise of this fast-paced, 80-minute musical production, that combines a spectacular tsunami of girl power with an anachronistic blast from the past. After several appearances at the Edinburgh Fringe Festival, openings, closings and re-openings, both in London’s West End and on Broadway, “Six” kicks off the Aragon Tour, a brand new North American National Junket, right here in Chicago. The basis for this infectious, head-bopping, toe-tapping, hand-clapping musical is Toby Marlow and Lucy Moss’ contemporary, pop-rock concert retelling of British history. 

Loosely based upon Antonia Fraser’s exhaustive work, The Six Wives of Henry VIII, the musical was also inspired by Lucy Worsley’s television documentary, “Six Wives.” But in this clever piece of theatre, the six wives aren’t simply sharing their backgrounds, but are vying for the position of Lead Singer in the group. It’s as if English Renaissance history was being reimagined by the producers of “American Idol.” By relating each queen’s story through song and dance, Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard and Catherine Parr each share what made them special and plead their case for who suffered the most as King Henry’s wife. At the conclusion of the presentation the audience will vote for their favorite…that is, until wisdom and reason prevail.

The show is ignited and electrified by the sharp direction offered by co-composer/lyricist/book writer, Lucy Moss, and veteran English director Jamie Armitage. They’ve done a spectacular job of catapulting this production into musical history. They’ve also managed to incorporate moments of mature amusement, sensual sensationalism and poignant pathos into each of the queens’ stories. Carrie-Anne Ingrouille’s sexy, almost athletic choreography is stellar, both uniting the ladies while still showing off each individual’s strengths and talents. Music supervision is co-supervised by London-based Olivier Award-winner, Joe Beighton, along with Chicago’s own genius and gift to the musical theatre, Roberta Duchak. Jo Ann Daugherty conducts the talented four-member, all female onstage band, appropriately called The Ladies in Waiting. They appear in costume and fill the theatre with the pulsating rhythms of their bass, guitars, drums and keyboard.

Each of the six queens is a dazzling jewel in this crown of a cast. Khaila Wilcoxon is bold and beautifully brazen as Catherine of Aragon. She’s the Jennifer Hudson/Beyonce of the company, and she sings the bejesus out of her number, “No Way!” Petite, sexy Storm Lever is an absolute Wrecking Ball of talent as Anne Boleyn. Singing “Don’t Lose Ur Head,” Ms Lever is a Miley Cyrus kind of singer, with her “Greensleeves,” her hair in horns and a neck choker to remind us she was beheaded. As Jane Seymour, sweet, demure little Jasmine Forsberg likes to remind everyone that she’s the queen that Henry loved best. She sings “Heart of Stone,” in her best tearful, Adele-like vocal style. She also died shortly after accomplishing what none of the other queens had done: providing Henry with a male heir to the throne.

We take a brief trip to an artist’s studio, the “Haus of Holbein,” where the theme of female beauty is explored through song. As if a dating app, the artist’s portraits of three ladies are supposedly offered to King Henry; he eventually chose the German Fraulein, Anna of Cleves, to be his next wife. She’s played with perky playfulness by the immensely likable Olivia Donalson. When the King discovered that Holbein had taken some artistic liberties in painting her, however, Anna finds herself divorced. She also finds herself living in the lap of luxury now, with no man telling her what to do, as she sings in a bombastic, Nicki Minaj-style, in “Get Down.” 

As queen number five, Katherine Howard is a Britney Spears kind of teeny-bopper. She comes off as a sexualized pop princess, particularly when singing her Toxic-like “All You Wanna Do.” Katherine details that men of all ages are constantly throwing themselves at her. Of course, as her choker necklace symbolizes, the queen is eventually beheaded for her promiscuity. Gabriela Carrillo is majestic and absolutely wonderful as Catherine Parr, the sensible queen who survived Henry VIII and went on to live a satisfactory life on her own terms. She becomes the voice of reason as she tries to convince the other five ladies to give up the singing competition. Instead of arguing who’s endured the most lamentable life, and thus be voted the Lead Vocalist, they should, Catherine explains, be celebrating their individuality. She makes this clear in her solo, “I Don’t Need Your Love,” sung with all the clarity and verve of an Alicia Keys. The show ends with the cast performing “Six” and a megamix encore, called a “MegaSix.”

Not only does this exhilarating musical sparkle with its performance talent, all the theatre artists who support this show shine and dazzle, as well. Gabriella Slade’s gorgeous, contemporarily re-imagined Renaissance raiments are spectacular. All glitzy and sparkly, each character is clad in a different color and embellished with sequins and spangles that catch the light and add punch and power to each queen. Detail is so deliciously a part of each costume, such as the unobtrusive holsters to hold the hand mics, when the a performer is dancing, but not singing backup. And notice how each queen has her own individual style of crown that makes her unique. Emma Bailey’s scenic design is a colorful melding of Tudor period style and 21st century rock concert chic. Both costumes and setting are spectacularly enhanced by Tim Deiling’s intense, incandescent lighting, that almost serves as another character in this play.

With nothing but praise and standing ovations to recommend it, “Six” is back in Chicago, where it began its U.S. reign several years ago. Although it tried, and it’s still lurking in the shadows, the pandemic didn’t succeed in killing this show. The musical is short, but both sweet and spicy—everything audiences want nowadays that theaters have finally been reopened. This colorful concert of catchy, contagious songs, featuring great performances by six talented actresses backed by their musically accomplished Ladies in Waiting, may even spark a renewed interest in British history. Just be prepared when you attend this wonderful production, because Her-Story is about to be over-throne.      

Highly Recommended

Reviewed by Colin Douglas

Presented by Broadway in Chicago through July 3 at the CIBC Theatre, 18 W. Monroe St., Chicago.

Tickets are available at all BIC box offices, at all Ticketmaster retail locations, by calling the Broadway in Chicago Ticket Line at 800-775-2000 or by going to www.BroadwayInChicago.com.

Further information about this and other area productions can be found by visiting www.theatreinchicago.com.