Pop concert spectacular of a musical celebrating independence and sisterhood.

When it premiered in 2017 at Edinburgh Fringe Festival, Toby Marlow and Lucy Moss’ Tony Award-winning SIX was a sleeper hit of a musical phenomenon, charming crowds and growing in its fandom till it reached the West End, Broadway and now, touring the world. Little would anyone have expected this oddball idea to make such waves, with its concept of a pop concert performed by the six wives of Henry VIII, as they take turns telling their story (through song) to determine who suffered the most from their shared husband.

With this touring production, playing at Marina Bay Sands, the production team bring that same magic to Singapore, commanding the stage with confidence, powerful vocals, and with spectacular choreography that leaves the audience enthralled for all 80 minutes. It is clear this cast is well-versed with their characters, with all six actresses confidently strutting out onstage in the showstopping opening number ‘Ex-Wives’ that introduces each of them – Catherine of Aragon (Billie Kerr), Anne Boleyn (Yna Tresvalles), Jane Seymour (Liberty Stottor), Anna of Cleves (Hannah Victoria), Katherine Howard (Lizzie Emery) and Catherine Parr (Eloise Lord). Showcasing top class choreography, all six feel like seasoned performers who have been performing together as a girl group for some time. There is a clear push towards diverse casting as well, not only showcasing variety, but also talent across the board.

Framed as a concert, everything in the musical rests heavily on the quality of both the composition and lyrics of the songs. But there’s good reason why this musical has won so many fans, and it’s because each song has been expertly crafted, pop music earworms that make up a cohesive soundtrack, while also differentiating their style such that each character feels distinct from each other, carrying each wife’s story in a sublime way. The songs flow easily one into the other, showcasing the versatility of the cast and band – the drummer herself has two sets of drums, a classical set and a digital one, allowing her to change up the sound and tone according to each song and mood. Aragon’s ‘No Way’ begins the string of stories (or, ‘her-stories’) on a strong note, as she recalls how Henry put her away in a nunnery while pursuing Anne Boleyn. Brimming with emotion and resistant anger, it clearly establishes how SIX is set up to bring maximum energy and impress with its roar of sass and girl power.

Anne Boleyn on the other hand, fights back against Aragon in ‘Don’t Lose Ur Head’, boasting of how Henry was attracted to her, and her own growing sexual prowess. Deliciously catchy and with strong singing chops, we learn how her bratty infidelity as resistance to Henry’s own is what led to her own beheading, in a childish, sorry not sorry tone, reminiscent of Avril Lavigne. Jane Seymour on the other hand, supposedly has an easier time with Henry, and perhaps the only one he ever loved on account of producing a male heir, and her emotional rendition of power ballad ‘Heart of Stone’ comparable to great vocalists among the likes of Celine Dion, as she stands true to her beliefs and belts out her sincerity and anguish in the song.

It is at this stage the women take a moment to think about the unfair expectations placed on female beauty standards, taking a break from the stories to perform the fun ‘Haus of Holbein’ to comment on their portraits painted. Styled like a German house and electronic number, the energy peaks here as we feel like headbanging in an underground club in Berlin, and is a welcome, lighter song as they sing in German accents and dance to the techno beats, even parodying a Tinder-like dating app as they recount how Henry chose his fourth wife based on her portrait. This leads to Cleves and her number ‘Get Down’, which oddly, shows how much joy she enjoys after the marriage is annulled in her palace in Richmond. The number reminds one of Rihanna and Nicki Minaj’s earlier music, and establishes her as a certified rapstress, putting her all into the chorus. Hannah Victoria commands the massive stage with ease, revealing to a sparkling red outfit to shouts and cheers, while bringing out a more dominant side to her when she points directly at an audience member to join in the number.

Segueing into one of the darker numbers, Howard recalls how she was ravished and taken advantage of ever since she was a child on account of her attractiveness, and the trauma that followed, all couched within the Britney-inspired ‘All You Wanna Do’. And in the final one of the stories, Parr questions why they are even competing with each other over such a shallow contest, rather than celebrating their worth as individuals. She comes on knowing exactly her worth, asking straightaway for a B flat Major 7 key from Joan on the keyboard, and goes into the R&B-inspired “I Don’t Need Your Love”, allowing her voice to soar, sadness brimming in her tone yet finding hope in the empty space left behind, giving rise to a rebirth and strength on her own.

As the six wives no longer have any reason to compete each other, they stand about looking lost as to how to proceed for a moment, and decide to come together as a complete group once and for all, singing of their own happily ever afters instead of basing them on Henry. Stronger than ever in their camaraderie, they sing the uplifting ‘SIX’, their voices matching and melding together, and you can’t help but smile at their triumph as you tap your feet along to the beat. Segueing into the remix ‘Megasix’, the entire audience gets on their feet and fills the theatre with lightsticks, joyous and explosive as a finale, cementing the show’s ability to move with the power of pop and remind us all that we are worth something without having to base it on other’s expectations. A frenzied, non-stop train of energy and sharp, perfectly-composed pop goodness, SIX is a wild ride from start to finish that leaves you satisfied, as if you’d just discovered your new favourite girl group.

Photo Credit: Pamela Raith Photography

SIX The Musical plays at the Sands Theatre at Marina Bay Sands from 14th November to 1st December 2024. Tickets available here