Six the Musical isn’t just a musical; it’s a rebellious revolution, a sassy spectacle, and an unforgettable experience. Compared to the 2022 cast that I watched in London, this Singapore production, with its powerhouse cast and electrifying energy, takes the crown. The six queens of Henry VIII are reimagined as pop divas, each vying for the spotlight with show-stopping solos and fierce ensemble numbers. From the moment the curtain rises, the audience is swept away on a whirlwind tour of Tudor history, reimagined with humour, heart, and a whole lot of attitude.
I was particularly impressed by the fifth queen, Katherine Howard. From the moment she started singing in the opening group song, her distinctive voice and vocal prowess were evident. Her solo is undoubtedly the most technically demanding and one that would’ve shredded the voices of less-capable singers. However, she actually made it look easy. Her glorious vocals combined with a tastefully-heartbreaking take on her character made her solo performance simply stunning. I believe she’s probably one of the best Howards globally right now.
Another standout was Catherine of Aragon, the first queen who was brave enough to commit to a Scouse accent for the role (actresses are known to add accents of their own choosing to inject more flavour into the roles). This accent from Liverpool isn’t the easiest to understand, even for fellow Brits, let alone Singaporeans! It may have made it harder to land some of the jokes and lyrical gems but she doubled down hard on it and offered us a take on the character that’s unique and oozes confidence. That and her piercing high notes (she certainly enjoyed her high C6) and exhilarating vocal fireworks truly elevated what could have been a pretty repetitive song.
The fourth queen, Anna of Cleves, was also great fun. Her performance was much more energetic than the London counterpart I watched, showcasing great charisma, comedic chops and stage presence. It was particularly satisfying to watch her ask an audience member to dance with her and he did so with the fiery gusto of someone who’s been waiting his whole life for such an opportunity.
The second queen, Anne Boleyn, fully committed to her manic and cheeky persona. If Labubu and Harley Quinn had a child, it would be this interpretation of the famously beheaded queen. Some tweaks to her comedic timing would allow her to truly take this role to the next level.
As for the third queen, Jane Seymour, she did an admirable job in quieting the audience down and getting them to hone in on her emotional solo. She successfully transitioned from the high-energy numbers to her grief-tinged ballad, showcasing her crystal-clear voice and nailing her sumptuous powerful belts. Personally, I would have her add a smidge more vulnerability to her song so that our hearts could truly ache for this character – perhaps something she will explore in later performances.
The final queen is Catherine Parr. Surprisingly, she did better in the ensemble numbers than in her solo. Her strong voice and commanding presence helped glue everyone together. Hopefully she will grow more comfortable on the Sands Theatre stage and let her voice shine more in her solo in future performances.
The production’s final touch, encouraging the audience to film the last bit, was a smart move, perfectly optimised for today’s social media-driven world. This wasn’t made very clear in the Singapore production but I encourage everyone to whip out their phones and dance along at the end.
Six is a great show to introduce friends who aren’t used to this format to the wonderful world of musicals. Instead of a three-hour affair, Six clocks in at just about 80 minutes. Forget dramatic chandeliers, mechanical dragons and flying witches – this show does so much with just six cast members, a four-person band and minimal staging. Overall, this Singapore production of Six the Musical is a must-see. The cast is incredibly talented, and the show is a thrilling ride from start to finish.
Six the Musical runs from now till Dec 1 (except Mondays) at Sands Theatre, Marina Bay Sands. Get tickets here.
Text by Reginald Koh.
