Divorced, Beheaded, Repeated: ‘Six’ Returns to the Ordway

Joan Marcus

They say you never forget your first time. When it comes to musical theater, there is a distinct alchemy tied to the first time you experience a story, hear the sharp twist of a lyric, and meet the characters. Such was my relationship with “Six”. Written by Toby Marlow and Lucy Moss, the pop-concert-meets-history-lesson phenomenon has returned to the Ordway Center for the Performing Arts for a limited run through June 28. Remarkably, this marks the fourth time the Tudor queens have seized the Ordway stage, tracing back to their legendary pre-Broadway engagement in 2019. But as I settled into my seat for this latest coronation, I found myself watching through more experienced eyes.

From the moment the lights flashed, this iteration simply felt a little louder, a bit brighter, and over-produced. I have always applauded the globally inclusive, powerhouse casting choices of “Six”; this current sextet does not disappoint with its vocal acrobatics. Individually, they possess the pipes to shake the rafters. However, as a collective unit, the chemistry has soured into something a bit too bratty, stripping away the campy charm that makes these historical ex-wives so endearing. Too often throughout the night, the performers seemed to be showing the audience a premeditated emotion rather than letting the comedy happen organically. It is a classic case of anticipating the lines; the punchlines were served before the setup could breathe. If you are hearing these historical roasts for the very first time, the dialogue still lands, but if you have seen the show before, you can see the wheels turning behind the choreography.

Stepping up to lead the pack is Emma Elizabeth Smith, who skillfully pleads the case for Catherine of Aragon. Smith completely shines in her solo “No Way,” offering a majestic poise and a seasoned maturity that none of the other queens quite match for the remainder of the evening. When the show leans into its group numbers, the production proves undeniably poptastic, perfectly mimicking a high-octane girl-group vibe that keeps the audience fully engaged for the entire, intermissionless 80 minutes.

Joan Marcus

Visually, the show remains a glittery feast. The costumes by Gabriella Slade look as immaculate as ever on this cast. Drenched in individual jewel-toned palettes and accessorized with matching bedazzled microphones, the ladies are spectacularly Tudortastic from crowned head to boot. Matching their sonic energy is the onstage band, wittily dubbed “The Ladies in Waiting.” This fierce female quartet rocks out like no other orchestra in live theatre. Their sound is vastly larger than their tiny footprint, though at times it felt more fitting for the Grand Casino Arena than the intimate confines of the Ordway stage.

A quick note to the local queens fandom: Please reserve the vocal audience participation for when it is explicitly requested by the ladies on stage. Staying in your seat and keeping the sing-alongs to a hum lets everyone else actually hear the actors they paid to see.

In all transparency, I adore these songs and the revisionist history the queens have to tell. The soundtrack lives on a permanent loop in my life. But for me, the third time was simply not the charm with this overly slick production. If you have never seen “Six”, by all means, do not miss this high-energy run. But if you already know these queens by name, face, and historical deed, you may have already witnessed a more regal production.