SIX: The Musical Live! 2025

The performance is set during an electrifying concert featuring the renowned pop girl group Six, which comprises the six notorious wives of King Henry VIII. As the lights dim, the atmosphere transforms, and individual spotlights illuminate the six women, who introduce themselves with the haunting refrain of a famous limerick – divorced, beheaded, died, divorced, beheaded, survived. They engage with the audience, excitedly announcing their presence, and invite everyone to experience their story live, as they launch into the vibrant and catchy opening number, “Ex-Wives.”

Dressed in stunning costumes and executing impressive choreography, the song not only serves as an introduction but also sets the stage for them to share their own narratives. They reveal that while many may know them as wives, they now identify as ex-wives, eager to share their unfiltered truths. Each woman takes her turn to introduce herself, recounting her connection to the king, starting with Catherine of Aragon, portrayed by Jarneia Richard-Noel, who held the title of married longest. Next is the scandalous Anne Boleyn, brought to life by Millie O’Connell, whose affair with Henry sent shockwaves throughout the kingdom. Following her is Jane Seymour, played by Natalie Paris, the one the king genuinely loved. The lineup continues with Anna of Cleves, played by Alexia McIntosh, who was admired only through a flattering portrait, Katherine Howard, brought to life by Aimie Atkinson, infamous for her promiscuity, and finally, Catherine Parr, portrayed by Maiya Quansah-Breed, the only one who managed to outlive Henry.

As the song comes to a close, the women engage with the crowd, welcoming them to their “Divorced Beheaded Live” Tour and introduce their band, which showcases impressive solos by each band member. In a playful twist, the women announce a friendly competition to determine who among them deserves to lead the band. They explain the criteria: the wife who faced the most struggles with King Henry will be crowned as the front runner. Each of them gets a chance to plead their case through individual performances.

The first to present is Catherine of Aragon, who passionately recounts her tumultuous marriage to Henry, explaining how he annulled their union in favor of infidelity, leading her to confidently sing “No Way”. Throughout the song, she expresses her unwillingness to be cast aside, asserting her strength and defiance against the king’s decisions.

Following her is the captivating Anne Boleyn, who breezily introduces her upbeat, carefree anthem “Sorry Not Sorry.” She recounts the story of her rise to the king’s favor while maintaining a cheeky attitude about the consequences that followed her affair, culminating in her infamous execution being depicted as a wild weekend.

Next, Jane Seymour delivers a poignant ballad, “Heart of Stone,” revealing her deep love for the king and the pain of dying shortly after childbirth. Her heartfelt depiction of love showcases her strength, and the other women harmonize around her as she reminisces about her unbreakable devotion.

The women then shift to a lively number titled “Haus of Holbein,” where they humorously detail the lengths they went through to entice King Henry through the artwork of the famed painter Hans Holbein. This song introduces Anna of Cleves, who shares her satirical take on being left with riches but alone in her acceptance of the king’s unconventional standards, leading to her own party-centric anthem, “Get Down.”

In a surprising twist, Katherine Howard enters next with her own provocative number, “All You Wanna Do,” which delves into her life experiences as an object of desire among men, ultimately reflecting on her tragic fate met at the hands of the king.

As the competition heats up, Catherine Parr finds herself reluctant to compete against her fellow wives, considering the unfair nature of their contest. She shares her own story of love, loss, and survival, culminating in a powerful ballad “I Don’t Need Your Love.” Highlighting her own struggles and individuality beyond the king, she recognizes the essence and the multiple layers of their stories, which extends far beyond their marital ties.

The narrative reaches a turning point as the women collectively come to the realization that their attempts to compare their hardships are inadequate. They rally together, embracing their unique identities as more than just one-dimensional characters in Henry’s story, revealing a delightful twist that this too was a part of their master plan.

With a joyous spirit, they unite to deliver a resounding rendition of “I Don’t Need Your Love (Remix)”, reclaiming their narratives and spotlighting their individuality away from Henry’s shadow. They dream of happier endings and resolve to create their own futures, wrapping up the show with “Six,” each crafting her ideal conclusion to her story.

As the show’s finale approaches, Katherine Howard engages with the frenzied audience, asking if they are ready for one more song. With enthusiastic cheers, the women burst into “Megasix,” a high-energy remix that combines snippets from all their previous performances. They harmonize together brilliantly, leaving the audience exhilarated as they close the show on a high note, sparkling confetti falling around them amidst thunderous applause.