Type – Musical, Feminine Pop
If you liked – Hamilton, & Juliet
SIX the Musical: The internationally acclaimed production is spectacularly punchy from the first note.
A history lesson of a different kind. Where King Henry VIII’s wives have a chance to give their version of events from their perspective, with a healthy dose of panache and personality. Bursting into song right from the start, who knew beheadings and death could make for such a vibrant musical?
SIX the Musical is warm and tender, irreverent and joyous all at once. And you don’t need to be a history buff to know how the story goes. This is more focussed on the characters reclaiming their identity.
We all love an underlying message, and this one is of supreme girl power. It’s true that stories about the six wives of King Henry VIII are not common knowledge, so they’re here to tell it. Battling it out in song for the right to be heard. Brought together by a royal husband and ultimately glued together by their tenacity.
The whole production exudes charisma; comedic timing is consistently sharp. The performances are loud and brash individually and as an ensemble with the Queens rewriting their story on their own terms, expressing their own personalities, and eventually their vulnerabilities. Dazzling and daring are the performers, each embodying their own version of strength, wisdom, courage and power.
Sarah Murr as Catherine of Aragon was a standout with a captivating voice and stage presence. Determined to remain remembered as more than just the first wife, she succeeded in this performance.
Mia Paris Scalise shone as Anne Boleyn. Full of expression and sass in comedic delivery and song. She had the audience anticipating her one-liners. We see the most change in this character and it was delivered so smoothly.
Cara Bessey as Jane Seymour was a powerhouse. This solo performance marked the notable change in pace. The emotion was unexpected and delivered with tenderness, rather than solemnity. This could have been different, but Bessey’s control kept it from descending into melancholy.
Kadesa Honeyhill embraced the mischievous nature of Anna of Cleves. Honeyhill embodied the confidence that seemed to be an inspiration to the other wives. The most physical of the performances, it whiplashed us back into the higher energy, a definite contrast to the emotional ballad before it.
Angela Brischetto held her own as the seductive and almost dangerous Katherine Howard. Although touching on seduction, her performance was restrained and mature, careful not to dive into the stereotypical.
Lorinda May Merrypor’s performance is grounded and steady as Catherine Parr. Her solo is the turning point, initiating the evolution from competition to legacy and channelling leadership as the survivor.
The light and shade of the characters was most evident in choreography, where some characters relied more on movement than others. Honeyhill looked the most comfortable and worked her choreography magically. As a group they were a tight unit, radiating electric energy from start to end.
The costumes (Gabriella Slade) blend historic familiarity and new age sparkle, looking right at home under concert lights. Lighting (Tim Deiling) features heavily to bring big, brassy moments and powerful climaxes into focus. It’s used to playful perfection, supporting the stories of these individual women, in lockstep with the set design.
The band, ‘The Ladies in Waiting’, was intrinsic in managing the dynamic tempo from upbeat musical numbers to anthemic sets and power ballads and adding a seamlessness to the comedy that is worth pointing out. Their position on stage, close to the performers, enhances their connection and makes for such a unified production. The music was everything you’d expect. It was poppy, soulful, bright and loud. Each performer commanding the stage with utmost exuberance, individually and collectively. Ensemble in the best way.
A collective power in unity. A rising consciousness of the power we all hold in ourselves. Not only recognising the humanity but celebrating it. The lighthearted candour between them is a poignant reminder of the inherent humanness we all possess. Momentous challenges like savage beheadings are rightfully put in their place as part of a whole life.
And it makes you think about the possibilities. I mean, what if they were born in a different century, where they were not at the mercy of a neurotically motivated king? They might be exploring planetary terrain, or climbing the corporate ladder, or in an endless loop of disappointing first dates. Who could ever know? But one thing you can be assured of, is that same message would surface; they would eventually find their power. And this is the key to SIX the Musical’s success.
Is SIX the Musical worth seeing in Sydney?
With overflowing sass, these characters are reimagined in modern terms, using thisrelatedness to convey the underpinning message of resilience, which is not what you’d expect from women who until now are remembered more for who they were married to and how they died. And this is the interesting part; these historical figures are transformed not only in song but in spirit, endearing themselves to the audience. For a few Tudor era characters who were beheaded, divorced or killed they’ve come a long way to being adored by audiences around the world in a very different century. Ahh, how the world turns.
A fast-paced, spirited musical for every age. You’ll be bouncing in your seat and eventually rising to your feet.
Tickets and Practical Info for SIX the Musical in Sydney 🎟️
SIX will play at Brisbane’s QPAC from January 2027
Theatre Royal Sydney
108 King St, Sydney
Season: 9th October – 20th December 2026
Tickets: https://ticket.theatreroyalsydney.com/en/buyingflow/tickets/120/
Creatives
Written by – Toby Marlow & Lucy Moss
Music Director – Claire Healy
Cast
Sarah Murr as Catherine of Aragon
Mia Paris Scalise as Anne Boleyn
Cara Bessey as Jane Seymour
Kadesa Honeyhill as Anna of Cleves
Angela Brischetto Katherine Howard
Lorinda May Merrypor as Catherine Parr
