Say it with me, Detroit: “Divorced, beheaded, died, divorced, beheaded, survived.”
You may recall the familiar refrain from school, referring to the fates of King Henry VIII’s wives. But you’ve likely never heard it chanted to a pounding drumbeat, punctuated by a flashing spotlight as the six queens take the stage.
The moment SIX begins, the crowd at the Fisher Theatre responds less like contemplative theatergoers and more like fans at a sold-out concert. And the performers encourage it. They break the fourth wall immediately, inviting the Detroit crowd to make their voices heard — right in line with the musical’s central theme.
Think of SIX less as a traditional musical, with elaborate sets and a dramatic arc, and more as a night out with friends: a group of women gossiping about their worst ex. In fact, the queens frequently dish directly to the audience. (Imagine the tongue-in-cheek, tell-all tone of Chicago’s “Cell Block Tango” spread across an 80-minute, intermissionless show.)
These self-aware characters are fully in on the pop spectacle — even going so far as to introduce the band before they perform.
What to Expect from SIX
The premise is simple: Each queen shares her story through song, vying to prove that she suffered the worst misfortune. Catherine of Aragon (Christina Jones) — cast aside by the king after she failed to produce a male heir and he developed an interest in Anne Boleyn — kicks off the musical numbers. They continue chronologically through Catherine Parr (Nina Ann Nelson), the final queen who recounts being forced to abandon her true love because she couldn’t refuse the king.
Visually, the production is sparing: a simple backdrop filled with pulsing lights reminiscent of a concert set. But SIX doesn’t try to transport the audience to Tudor England. Instead, it uses modern vernacular, contemporary music, and plenty of humor for a “histo-remix,” revisiting the lives of women who have long been defined by their marriages alone.
Beneath the jokes and catchy choruses, the musical sheds light on the realities of the age: women’s lack of autonomy, the need to marry to avoid becoming an outcast, and the harsh consequences of failing to meet the king’s expectations.
Each queen bubbles over with personality, from fierce, poppy Anne Boleyn (Brittany Smithson) — accused of adultery and subsequently beheaded — to despondent Jane Seymour (Melina Savannah Cruz), who makes use of her remarkably deep vocal range to lament her death in childbirth. Shelby Griswold portrays Anna of Cleves — rejected by the king for her looks — as unapologetically content in her riches, strutting across the stage in a flashy leotard, while Thabitha Moruthane plays a cheeky Katherine Howard, whose number shifts from playful to haunting as she reveals the years of physical exploitation she endured.
Despite tackling heavy subjects, the songs remain largely upbeat. These queens certainly don’t let death or divorce keep them down. Their nearly nonstop choreography brings the energy of a true girl group. The Playbill identifies the divas who inspired each character’s design, and the influence is clear. Look for Beyonce’s signature swagger in Catherine of Aragon’s number and listen for Adele’s soulful sound in Jane Seymour’s ballad.
The Origins and Success of SIX
SIX brings stadium-level sound to the theater, with thumping bass reverberating through the seats and infectious songs that could easily pass for Billboard chart-toppers. No wonder the cast recording has amassed more than 100 million streams, and the musical won the Tony Award for best original score in 2022. (It also took home best costume design for the queens’ sparkling crowns and corsets, equal parts royal glamour and pop-star pizzazz.)
One thing is certain: By the final five minutes of SIX, you’ll be on your feet clapping along.
The English musical, written by Toby Marlow and Lucy Moss as students at Cambridge University, first premiered at the Edinburgh Fringe Festival in 2017 before making its way to London’s West End, then Broadway. Its current North American tour — now in its fourth year — has brought the production back to Detroit for a third time, and the crowd’s enthusiastic response suggests the queens would be welcome again.
Like nationally renowned shows such as Hamilton and Suffs, SIX seamlessly blends engaging, contemporary storytelling with history not frequently studied. As much as the musical makes you bob your head to the beat, it also makes you want to open a book.
The show dares to ask, what if we remembered these six women for more than the husband they had in common? By giving each queen the chance to tell her own story, SIX offers new perspective on a history that time has reduced to a simple rhyme.
Catch a performance of SIX at the Fisher Theatre now through Nov. 8. Tickets start at $35 and are available on us.atgtickets.com.
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