I was ready to review. Six When Broadway went dark on March 12, 2020. It was frustrating to sit on my opinion. To be sure, I had to worry more than I thought about this bouncy London import, in which half a dozen ex-wives of Henry VIII sing their fortunes in pop songs. Well, at least I didn’t go down without explaining myself first.
Any show that opens on Broadway or off after our dissatisfied winter should be celebrated. Just as smart and well-run. Six They deserve extra praise for taking risks in this friendly but fragile ecosystem. An 80-minute song cycle with jokes about Tudor Court and the English king’s separation from the pope: not an easy sale. However, Six – who released an exercise-filled studio album in 2018 – is not just a new title fighting for market space. It comes with a built-in phantom that knows the nine tracks by heart. This makes it both easy and difficult to define music.
But let’s not go beyond ourselves – or beyond Anne Boleyn. I think you got it. Anne (Andrea McCaset) makes many bizarre remarks about Henry’s infamous death sentence after he fell in her favor, arguing that she bore the most of all her expenses. The show’s dramatic pride is that women are fighting for the most abuse.
I do not claim to know every juicy fact. Six (Still working my way through Hillary Mantel. Mirrors and lights.). Did I know how the German-born Anna of Cleves (Britney Mack) got separated from Henry’s big chest? It included a painting by Hans Holbin. Nor did I hear of Thomas Clipper, the courtier who was fatally involved with Catherine Howard, Henry’s fifth wife. So, to slap the historical channel, bow to the clever boot power duo of Toby Marlowe and Lucy Moss (book, music, lyrics) and write barren, wall-to-wall for our deposed giants in the style of Britney Spears, Nikki Minaj, Alicia Keys, and others (no According to my niece, I definitely. What no Advice).
Six Broadway is not the first musical to marry the idea of pop revival. Something rotten! And Head over heels. Filled the microstyle with a good appliqu. Fifteen years ago, Spring Awakening It turns out that shaking off ancient social injustice creates a frenzy. I Six, Each queen describes her special journey through 16th century England’s racist meat mill. The first lines of the script – a memoir for UK school children – summarize their heads: “Divorced. Beheaded. Died. Divorced. Beheaded. Survived.” So a happy ending. kind of.
In addition to the aforementioned N / A, we hear from the proud French Princess Catherine of Aragon (Adriana Hux), who became relatively easy with separation. The sympathetic, loyal Jane Seymour (Abby Mرller), who died at birth after being party girl Catherine Howard (Samantha Paulie), accused of prostitution and, like Boleyn, was sent to the mob. And finally, the wealthy, self-confident Catherine Parr (Anna Ezile), Henry’s last wife and caregiver to her bloated, gouty, foolish death. (Impressively, given King’s well-documented obesity, Zero Fat is embarrassing.)
There is no conspiracy. Six, Just an agreement (in song) to compete between ex-wives who had the hardest time. Towards the end, in a meta-twist, women realize that in their humiliation and suffering, they are playing into the patriarchal ideology of praising women through their attachment to men: an epic backdrop failure. Together, women literally harmonize their path to the sibling and empowerment space. “I don’t need your love, no, no / now it’s time to come up, wow, wow / we don’t need your love because we are so much more than that.” However, we have gone through an epidemic and are returning to life. The issue of empowerment is very strong.
The six actresses have tremendous abilities, equally skilled in scaling high notes (solo numbers and backup backups) and performing Carrie Anne Ingerville’s Dundee tricks. Gabriella Slade’s glamor dresses are glittering, multi-signifiers adorned with jewelry: both Mudrf bearing sexy, but also sharp and tough like a coach. These ruined girls are going to war. The reflecting lights of Tim Dalling’s stadium set the perfect rock concert atmosphere, and Paul Gatehouse’s ace sound design ensures that we get every funky bass lick as well as every dumbness. Co-directed by Moss and Jamie Armitage, Six A shiny, well-engineered fringe stent is well made.
With over 100 million London cast album releases, Six Also orders ready-made, baked-in-the-fandom. When I attended (last year and now), the audience went crazy, as if it was already a long-running hit. That was one such trend. Be more cool., Another show that became popular with fans – except that. Six The real intellect and matter
However, I’m concerned about this kind of viral pre-approved work: it replaces the unintentional discovery of new material with formal staining. Such as Hamilton (Clear model for Six), The score is thick with statistics and jokes, which hardly anyone can catch on the first hearing. Lin Manuel Miranda does a great job of dramatizing his content and guiding the audience through its nuances with modern storytelling tools. Here, Marlowe and Moss’s playwriting is very rudimentary and the sense of discovery in the lyrics is silent. Is it real music or just a renaissance fair rock concert?
I think they are both, and very pleasing in terms of their merits: funky but heartfelt, cleverly packed, short than happy. Check it out, especially if your tastes diagram on Van Tudor History, Camp Feminism, and Ariana Grande. History is a record of institutional humanity: sociopathic dictators, affected women, wars and epidemics. It all comes down to the ashes of history – if we’re lucky, set to dope beat.