Take Your Crowning Glory: A Regal Rave for 'Six the Musical'
Divorced. Beheaded. Live on stage in Brisbane—'Six the Musical' has returned, and it's got more sparkle, sass, and sisterhood than you could ever want from a night at the theatre. It’s not every day you get the privilege of watching Henry VIII's wives reclaim their stories in dazzling pop-diva style, but that’s exactly what you get at Six; now playing at QPAC’s Playhouse until February 9th. I was lucky enough to attend the opening night and have already booked to come again! After performing in Brisbane just two years ago, we are treated to two of the original members returning.
For those living under a rock, this musical is a pop-fuelled history lesson reimagined as a concert, where King Henry VIII’s six wives take centre stage to tell their stories. It’s fierce, funny, and unapologetically feminist. Introducing themselves through one of the BEST opening tunes in the musical theatre world, 'Ex-Wives', each Queen competes to convince us, the audience, that her experience being married to history’s infamous Tudor tyrant was the worst. What follows is a high-energy, 90-minute extravaganza packed with unforgettable songs, jaw-dropping choreography, and dazzling costumes.
Let’s break down the fabulousness, shall we? Kimberley Hodgson kicks things off as the indomitable Catherine of Aragon, delivering the fiery Beyoncé-inspired opening number 'No Way.' With commanding characterisation and powerhouse vocals, she sets the tone for the show, demanding respect as Henry’s longest-reigning wife. Hodgson is absolutely fierce, and doesn’t miss a beat—even after an intense opening group number.
Anne Boleyn, played by Deirdre Khoo, is a comedic standout. Clad in green and armed with deadpan delivery, she’s the cheeky queen who turns her tragic beheading into comedic gold. Her song 'Don't Lose Ur Head' is a pop-rock banger brimming with playful sass and guillotine-sharp wit.
Loren Hunter reprises her role as the gentle yet strong Jane Seymour. Her moving ballad 'Heart of Stone' evokes the emotional power of Adele's soul-stirring anthems and packs an emotional punch. Hunter infuses Jane's tragic tale with sincerity and depth, making it impossible not to feel a pang of sadness for the queen who died too soon. Having portrayed this character for years, it's clear Hunter cherishes the role. Her skill in tapping into that raw emotion every performance is truly admirable—and she even delivers dad jokes!
Following that is the electrifying 'Haus of Holbein,' a lively and neon-lit group number illustrating how Henry selected his fourth wife. Chiara Assetta (Dance Captain/Swing) takes on the role of Anne of Cleves, and she is a revelation. Her number 'Get Down' is a funky, Rihanna-infused showstopper that celebrates Cleves’ post-divorce glow-up. Assetta infuses the role with goofy humour and a sly wink, cementing her place as a front runner for this reviewer.
My personal favourite though? Katherine Howard, reprised by Brisbane’s own Chelsea Dawson. In her hot pink ensemble, Dawson delivers the evening's most lengthy and emotionally intense performance. Her Ariana/Britney-style solo 'All You Wanna Do' is a pop masterpiece that starts flirty and carefree but takes a dark turn through subtle shifts. Dawson masterfully navigates this emotional journey, embodying the vulnerability of a young woman who was exploited and ultimately condemned. Dawson is a powerhouse of endurance and emotion, and I simply can’t imagine anyone else in the role now.
Finally, Giorgia Kennedy brings the story home as Catherine Parr. Her soulful number 'I Don’t Need Your Love' flips the script, turning tragedy into triumph through her powerful declaration of independence and strength. Kennedy brings grace and warmth to the role, delivering a stunning vocal display and a monologue that highlights Parr’s resilience and intellect.
The connection among these queens is extraordinary, a quality I've noticed missing in other small-cast musicals. They support one another with flawless harmonies, expertly polished choreography, and plenty of playful banter. The ladies-in-waiting—aka the incredible onstage band—are equally fierce, propelling the show’s unstoppable rhythm and adding to the girl-power.
Beyond the powerhouse performances, the technical elements are a visual feast. The lighting is spectacular. The costumes are pure perfection—glittering, distinctive, and totally iconic. And the incredible wigs and headpieces stay flawless through all the vigorous choreography. A distinctive feature of this production is the use of handheld mics, which the Queens tuck into their costumes when it's time to bust a move.
If you can, I highly recommend snagging seats in the front rows so the Queens can see your face as you cheer them on! The Queens love engaging with the audience, and it’s a thrill to feel like you’re part of the action. I’ve sat in various spots and can confirm: no seat is a bad seat when these Queens are slaying the stage. They even get the entire audience on their feet for the final number. My first experience was front row on the far left, and it didn’t matter that I wasn’t in the centre—the Queens perform to every side. My second time was in the fourth row, dead centre, and I hope they saw my beaming face! This Friday I’ll be in the balcony wheelchair area, bringing as much excitement as ever!
Six the Musical is camp, clever, and absolutely unmissable. Its fusion of pop music genres, historical narrative, and outstanding performances makes it one of the most unique and empowering theatre experiences out there. So, what are you waiting for? Grab your crown, bring your energy, and get ready to be rocked by these spectacular Queens.
Photography by James D Morgan
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