Starting life as a show by two university students, I don’t think I need to repeat how the musical Six became a global success. However, what was a proshot filmed over a week in 2022 with the original West End cast reuniting. As I already revealed online (even documenting it on the day) I was lucky enough to attend the July 1st filming sat in the front row after winning the Instagram ballot.
What I’ll say on that is it was the most incredible experience and one of my all-time stagey memories because of the pure energy in the room and we all had the funnest time. After nearly 3 years, was the wait worth it? Or more importantly is this proshot one of a kind, no category?
Six The Musical Live!
- Catherine of Aragon: Jarnéia Richard-Noel
- Anne Boelyn: Millie O’Connell
- Jane Seymour: Natalie Paris
- Anne of Cleves: Alexia McIntosh
- Katherine Howard: Aimie Atkinson
- Catherine Parr: Maiya Quansah-Breed
Rating: ★★★★★
What is Six The Musical Live about?
Six follows the titular wives of Henry VIII, reconfigured as a 21st century girl group in a singing competition with the winner taking the crown based on the amount of BS they had to put up with. With each queen taking turns to tell their stories, slowly we realise they individually and as a group are so much more than divorced, beheaded, died, divorced, beheaded, survived!
What are my thoughts on Six the Musical Live?
I’m a huge fan of Six having seen several performers as the Queens leave their mark over the years, and I’m happy to say this proshot does the show justice having been there. Starting off with an intro with the original cast reflecting on their time with the show from Edinburgh Fringe to the Arts Theatre transfer to the Hampton Court performances, it was an emotional appetiser before the main course that was the film.
While Six is an often funny and silly girl power show, it has always been deceptive is the cleverness in Lucy Moss’ writing. Not only does it reclaim the queen’s ‘herstories’ and highlight their achievements beyond their shared husband, but it’s also a commentary on why comparing women and their trauma is a toxic mindset and we should instead celebrate each other’s individuality (something some Six fans could learn – just saying).
One thing that makes Six a great gateway show for new theatre fans is Marlow and Moss’ pop score. With each queen taking influence from various pop stars i.e. Ariana Grande and Britney Spears for Katherine Howard, the musical styles are distinct and balance. From the pop r’nb No Way to emotional ballad Heart of Stone to bubblegum pop All You Wanna Do, I don’t think I can say I have a favourite because they’re not worth comparing.
When it comes to the proshot itself, it’s the glossy editing choices that make it stand out from others, capturing the feeling of both a concert and a stage show. Comprising of separate performances, moments featuring the audience added energy (as well sound design keeping moments we gleefully clapped along) while close-ups highlighted Gabriella Slade’s vibrant Tony-winning costumes in detail as well as the emotion of songs. Having sat in the front row, it was amazing seeing the various perspectives it offers, some that would be accurate when seeing the show live and others only a camera could capture.
The cinematography also allows room for creativity such as a change in the aspect ratio and colour grading for Anne Boelyn’s entrance, and frenetic editing for the out there eurotrash song House of Holbein (yes, we all clapped along as shown). One moment I must highlight is a hilarious shift as the movie breaks the fourth wall with shaky camera shots across various parts of the stalls as if they were filmed on phones – perhaps a sign of why slime tutorials aren’t the best way to consume the show?
What’s the cast like?
The Six original West End Queens have held a special place in the Queendom’s hearts, and there was something heartfelt about them reuniting for possibly the last time – as Aimie said in the intro, you never know. Having such great chemistry and camaraderie together (even forming girl group SVN), the roles felt lived in as if they never left.
Jarnéia Richard-Noel’s devoted Catherine of Aragon delivers an epic No Way when she refuses to leave Henry. Millie O’Connell is only what I can call a bubbly firecracker as Anne Boelyn, her in-your-face Don’t Lose Ur Head filled with comedy slowly shifting into fear as she faces the reality of getting her head chopped off.
Natalie Paris’ maternal Jane Seymour soulful rendition of Heart of Stone is among the proshot’s most emotionally raw moments that shows off her soaring vocals. It’s no wonder why she’s a fan favourite with the number of times she’s played the role and I’m glad more people can see why.
Alexia McIntosh’s Anna of Cleves exudes confidence in her bombastic Get Down, gleefully twerking her way across the stage as she boasts about the perks of being divorced from the overweight wrinkly old man 24 years her senior who dared to call her ugly. Set to reprise the role in the UK tour, I can’t wait to see her live again.
Aimie Atkinson’s Katherine Howard is filled with deadpan snark and sensuality, until she lets out her real trauma of being taken advantage by the men around her in a gut-wrenching All You Wanna Do. It’s a performance that lived in my head rent-free since seeing it and I’m glad more people can understand why.
Maiya Quansah-Breed’s Catherine Parr offers tragedy and maturity as she reveals she sacrificed the real love of her life in order to survive on top of incredible riffs and belting in I Don’t Need Your Love.
What are my overall thoughts?
After years of waiting, I’m glad that I can give Six the Musical Live a gold star (or rather five). A pure love letter to the Queendom who helped Six become the crowning glory it is today while being accessible to newcomers, it’s no wonder why the show continues to find global success. Bombastic in every aspect from the cast to cinematography, I urge you to see it in a cinema near you.
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