{"id":9776,"date":"2019-04-04T19:14:54","date_gmt":"2019-04-04T19:14:54","guid":{"rendered":"https:\/\/laughfrodisiac.com\/\/?p=9776"},"modified":"2019-04-30T22:03:37","modified_gmt":"2019-04-30T22:03:37","slug":"six-the-musical-divorced-beheaded-live-and-here-to-save-british-musical-theatre","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2019\/04\/04\/six-the-musical-divorced-beheaded-live-and-here-to-save-british-musical-theatre\/","title":{"rendered":"Six the Musical: Divorced! Beheaded! Live! And Here to Save British Musical Theatre"},"content":{"rendered":"\n

It\u2019s Theatre Thursday! Today\u2019s show is the new musical Six, playing at <\/em>London<\/em>\u2019s Arts Theatre. <\/em>

Longtime Laughfrodisiac readers (or people who have spoken to me in real life for more than five minutes) have heard me bitch and moan about the sorry state of British musical theatre before, and often. The only great shows for literally decades came courtesy of Andrew Lloyd Webber (and he wasn\u2019t immune to some straight-up horseshit<\/a>), and a random few from Elton John (Billy Elliot) and Tim Minchin (Matilda). Matilda premiered in 2010, so that\u2019s almost a decade without a great new British musical. And people wonder why I always say musical theatre is better on Broadway. While that\u2019s still true, finally, forking g-d FINALLY, a new, original, fantastic musical written by Brits has arrived. It seems what the world of British musicals needed wasn\u2019t another old white man (honestly when has that ever been the answer), but two young Cambridge students ready to make their mark before even graduating (I know, I hate them too). Six the Musical is a girl-power retelling of the stories of Henry VIII\u2019s six wives, a concert-style show that is fast and furious in its remarkable ability to share history through modern pop music that is funny, inspired, and absurdly catchy. 
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From just the tagline \u2013 \u201cDivorced, Beheaded, Live!\u201d playing on the famous rhyme for remembering how the wives died \u2013 I knew this was going to be fun, but I was not ready to be blown away by the brilliant music. The six wives, onstage with their all-female band, are outfitted in the coolest of costumes, a shiny modern slant on medieval garb, kind of like it\u2019s Halloween and they decided on \u2018sexy Tudor.\u2019 They\u2019ve gathered now to have a sort of contest, to see which of them suffered the most and \u2018wins\u2019 that dubious title of most unfortunate of the six wives, kind of like how Monica won the title of giving the best bad massages. As soon as they begin singing \u201cWelcome to the show, to the histor-remix<\/em>\u201d I was like OH DIP (because I speak like Jason Mendoza as a rule now), WORDPLAY, this is going to be spectacular. And from that opening number, \u201cEx-Wives\u201d, I was enthralled and honestly elated at how good the music was.

From the opening onward, the lyrics are clever and the music is fun and memorable. Throughout all of it, there are amazing nerdy history jokes peppered in, which, as nerds, we adored, and straight up historical lessons on things we never knew. Since English people are super nerdy about knowing and loving their history (would be cool, America!), there\u2019s an immediate sense that everyone is sharing inside jokes, which is a surefire way to solidify audience engagement and enjoyment, and guarantee positive word of mouth. In fact, this is the first show in a while where the audience was so engaged that there wasn\u2019t much extraneous chatter or phone use, which is a g-d miracle.

Pretty much every musical number \u2013 and since it is a concert-style show, it\u2019s a series of musical numbers with limited dialogue in between \u2013 delivers, with the badass energy of \u201cEx-Wives\u201d continuing into the first solo, Catherine of Aragon\u2019s (Jarneia Richard-Noel) \u201cNo Way\u201d, about how she was not about to give this jackass the annulment he wanted. \u201cNo Way\u201d is one of the catchier songs, one I could see being played on the radio (it\u2019s even on my running playlist). It is a forking great time and Richard-Noel has a blast with it. The girl-power vibe remains into the second wife\u2019s solo, but in a much different way. If you know your history, you know that second wife is the most famous one, Anne Boleyn. Where Catherine #1 had self-assurance, Anne goes for cheeky and trades in on innocent-seeming adorableness to gloss over anything she may have done wrong in the funny \u201cDon\u2019t Lose UR Head\u201d. Definitely the millennial character of the bunch, Boleyn (Millie O\u2019Connell) sings how she\u2019s \u201csorry not sorry bout what I said\u2026I didn\u2019t mean to hurt anyone, lol.\u201d It\u2019s a bold move to show Boleyn as a naughty young girl trying to make her actions seem cute, and I liked that even though she\u2019s the most famous wife, she doesn\u2019t get the most attention or development. We have more interesting wives to learn about.

Like Wife #3, Jane Seymour, or as the other wives mock her, \u201cthe only one he really loved.\u201d To have a needed break from all the loud fast songs so far, Jane gets the slow Adele-like power ballad about her \u201cHeart of Stone\u201d. Natalie Paris does a fantastic job with this well-placed song and gets to really show off, while selling a convincing and honestly heartbreaking take on why she wasn\u2019t lucky just because Henry loved her. I love that this show makes you reconsider all of your assumptions about these women. Like Wife #4, Anna of Cleves. First of all, I always thought it was Anne. Second of all, obviously liberties were taken, but I adore thinking of her as having made out like a g-d bandit after Henry divorced her. In her hilarious song, \u201cGet Down\u201d, Anna (a great Alexia McIntosh) says since Henry divorced her rather quickly because she wasn\u2019t actually as hot as she looked in her profile pic (erm, oil painting), she put up with a few months of his crap until he divorced her and then she got to live like a queen for the rest of her life. Not a bad deal at all, she admits, taking herself out of the competition with her proud acknowledgement that her life post-Henry was theeee shit. And nothing is funnier and more perfect than the group number introducing Anna \u2013 \u201cHaus Of Holbein\u201d. In it, we learn how Henry turned to Germany for his next wife, and what better way to tell us than in a spot-on spoof of a German club anthem, absolutely hysterical and perfect.

Of course, Anna was the lucky one, and after he divorced her he was right back to treating his wives horribly. Next came Katherine Howard, my favorite of the bunch, with her incredible number \u201cAll You Wanna Do\u201d, which has her channeling Ariana Grande while bragging about her promiscuous past in the beginning and then turning it into a devastating post-mortem on how her whole life was about being used and abused by men. Aimee Atkinson, with this show since the beginning, was the standout for me, and in one song she achieved the kind of character development most shows dream about. It doesn\u2019t hurt that this song has some of the cleverest lyrics, and the greatest use of the phrase \u2018birds and the bees\u2019 maybe ever.

With all these truly amazing songs, it was inevitable that there would be a slight dip in quality, and that happened when we got to the sixth wife, Catherine Parr (Courtney Stapleton, on as alternate). She didn\u2019t get to really shine as the others did, because her song is the weakest. It also ends abruptly as she decides to change their focus, so it\u2019s not as crucial to have strengthened since it segues into a group number. And that group number is pretty moving, as the wives decide to change their perspective, and ours. Maybe instead of regarding them as being famous just because they were married to Henry, they say, maybe we should consider that he<\/em>was only famous because he was married to them. Whenever you have a show that sets out to be \u2018girl-power\u2019, it runs the risk of pandering for applause, and while they came close to that line, the way they presented this discussion saved it. 

The downsides are few: For one, the sound in the Arts Theatre isn\u2019t great. It\u2019s a tiny almost-black box of a theatre, with acoustics that do not measure up to what a West End theatre should have. It was often hard to make out the extraordinarily clever lyrics, which is a shame, because they are extraordinarily clever. Whether it was solely due to the sound engineering or a mix of sound issues plus enunciation needs, I don\u2019t know, but it would be wise to shore up the clarity on either front. My only other issue is that, because it is so strong, it\u2019s a shame it\u2019s not a full-fledged book musical. With equal focus on six different characters, you\u2019d think they would have had trouble cutting it to a suitable length for modern audience\u2019s attention spans. Instead, it presents the opposite situation, with an adoring audience eager for more. At 75 minutes, it\u2019s great that it never overstays its welcome \u2013 always leave them wanting more, I guess \u2013 but it could easily take another 15 minutes, flesh out a few of the more superficial characters, and still be a breezy show. But I guess it\u2019s best to count our lucky stars that there is nary a weak moment in this show, and that the audience was fully rapt (and off their phones, praise be) the whole time, so who am I to dare risk all that magic? Six is a joyous, provocative, inspired show and I will gladly see it again and again, which is something I have never said about a British musical.

INFORMATION<\/strong>
The Arts Theatre is tiny, so it is a madhouse in the lobby. The bathrooms are tiny so get in line early. This is one show where it\u2019s fun to be super close.<\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s Theatre Thursday! Today\u2019s show is the new musical Six, playing at London\u2019s Arts Theatre.  Longtime Laughfrodisiac readers (or people who have spoken to me in real […]<\/p>\n","protected":false},"author":2,"featured_media":9777,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[147],"tags":[],"yoast_head":"\nSix the Musical: Divorced! Beheaded! Live! And Here to Save British Musical Theatre - Laughfrodisiac<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laughfrodisiac.com\/2019\/04\/04\/six-the-musical-divorced-beheaded-live-and-here-to-save-british-musical-theatre\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Six the Musical: Divorced! Beheaded! Live! 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