- SIX the Musical brings a refreshing pop-concert twist to Sydney theatre, reimagining Henry VIII’s six wives as outrageous pop divas.
- The all-female cast delivers powerhouse vocals, razor-sharp comedy and infectious choreography.
- The reaction to the show proves Sydney audiences are hungry for more modern musicals.
I’ll admit it, I haven’t been overly excited with Sydney’s recent musical theatre offerings. Neither My Fair Lady nor Fiddler on the Roof particularly sang out to me (pardon the pun). I’ve been craving something a little more contemporary — ideally written in the 21st century.
Enter SIX the Musical. Created in 2017, this all-female sensation is described as an “electrifying pop-concert fit for royalty”.
With 38 major international awards under its corset, including two Tony Awards, a Grammy nomination and a Platinum-certified soundtrack, it’s cemented itself as a modern musical theatre phenomenon.
The production reimagines the six wives of Henry VIII as pop divas, battling it out to reclaim their story and to prove who suffered the most during their marriage to the infamous king. The winner earns the title of lead singer and claims the spotlight as the group’s ultimate pop queen.
The result is 80 minutes of riotous fun, powerhouse vocals, cheeky innuendos and an unapologetically catchy soundtrack.
At a time when Sydney’s musical theatre scene has been dominated by classic productions, SIX arrives as a refreshing change of pace, bringing a completely new energy to the stage. Here’s why this royal rebellion hits all the right notes and delivers the theatrical shake-up Sydney needed.
Killer vocals, infectious energy and plenty of innuendo
The cast of SIX the Musical remain onstage throughout, backed by an all-female live band as they take turns in the spotlight, providing backing vocals and choreography for each queen’s solo.
Kicking off the competition was Catherine of Aragon, played by the powerhouse Sarah Murr. She set the bar sky-high with her R&B-infused pop anthem “No Way”, unleashing powerful riffs that were almost inhuman.
Next up was Mia Paris Scalise as Anne Boleyn, taking on “Don’t Lose Ur Head”, one of the show’s most beloved numbers, with lyrics that have taken on a life of their own on TikTok. My personal favourite? “He doesn’t want to bang you / Somebody hang you.”
You’d never guess this was Scalise’s professional stage debut. Her comedic timing was razor-sharp, and her vocals were faultless.
In fact, this proved to be a recurring theme throughout the night: not a single queen missed a beat, let alone a note. And these are no easy songs to pull off, demanding serious vocal stamina.
Cara Bessey as Jane Seymour brought some tender emotion to the stage with her rendition of the power ballad “Heart of Stone”, a nice switch-up from the tongue-in-cheek lyrics and choreography of “Don’t Lose Ur Head”.
This only lasts for one song, however, before Anne of Cleves (Kadesa Honeyhill) brings what can only be described as Berlin electronic nightclub energy to the stage. There are lit-up rave glasses and Elizabethan ruffs, exclamations of “Ooh yah!” and a Tinder-style swipe through.
Honeywill is electric, effortlessly hilarious and arguably the strongest physical performer of the queens. But the real magic happens when the six performers move as one. The choreography (brought to life in this production by Cristina D’Agostino) is not overly complicated, but their chemistry and precision make every synchronised moment feel infectious.
Next up is Angela Brischetto as Catherine Howard, taking on another fan-favourite, “All You Wanna Do”. With her bright pink ponytail swinging wildly, Brischetto embraces the role of the sexiest queen, delivering the song’s cheeky innuendos with hilarious bravado and infectious confidence.
We’re nearly at the end of the show, and Lorinda May Merrypor is front and centre as the Queen who survived, Catherine Parr.
Catherine Parr’s role is to shift the show’s focus from competition to female empowerment, as the queens stop defining themselves by their relationships with Henry VIII and begin reclaiming their own stories, fuelled by Parr’s ballad “I Don’t Need Your Love” and Merrypor’s pitch-perfect vocals.
The queens reach their final verdict: they don’t need to define themselves by a fat old king. It’s time to party! With the competition behind them, they rally around the band for one final, high-energy celebration.
The lights flash, golden streamers burst across the stage, and the show explodes into a glittering pop-concert finale. The entire audience is on its feet, clapping and dancing along.
Sydney needs more musicals like SIX
SIX the Musical came to Sydney at the perfect time, bringing a refresh to a theatre season that was starting to feel a bit tired. It’s been a while since I’ve been to a musical that maintains such a high level of energy throughout the entire show.
The staging is deliberately stripped back, with just six performers, their microphones and no props to distract from the action. But that’s precisely where SIX shines: the talent of its cast takes centre stage, alongside the razor-sharp writing by Toby Marlow and Lucy Moss. Given its tongue-in-cheek humour and youthful energy, it’s no surprise that the musical started as a student production at Edinburgh Fringe Festival.
I’d love to see more contemporary musicals take to the Sydney stage, because if SIX has proved anything, it’s that there’s an appetite for them. Just look at the success of Hadestown, The Book of Mormon and Hamilton, all of which enjoyed popular Sydney runs and brought audiences flocking to the theatre.
With Les Misérables, Paddington and Moulin Rouge! The Musical all coming in 2027, there’s plenty to look forward to. But my hope is that Sydney’s theatres continue to embrace bold, high-energy productions that shake things up and keep the city’s theatre scene fresh.
If SIX is anything to go by, Sydney audiences are craving more musicals like this.
SIX the Musical is on at the Theatre Royal until December 20. You can book your tickets to the show here.
