![]() Although they all share the cursed title of Henry VIII’s former wife, it is impressive to see how each character never fails to grab the spotlight as they are given a sense of personhood beyond their historical notoriety. They quickly agree that the wife with the most strife in their life while with Henry deserves the title and, thus, compete against each other by comparing their stories through song. From start to finish, it remained incredibly animated, with the queens at odds and trying to figure out whom amongst the six of them deserves the role of lead singer for their band. ![]() 8, there was rarely a lull in the energy of the performance. ![]() To do this, they took plenty of artistic liberties with their retelling of the stories of Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard and Catherine Parr, while still maintaining a semblance of historical basis.ĭuring the “SIX” performance at the Connor Palace on Friday, Sept. With an all female cast, the playwrights set out to compensate for a lack of gender diversity within musical theater, intending to hone in on feminist and queer themes. “SIX,” a Tony award winning musical written by Toby Marlow and Lucy Moss in their senior year at Cambridge University, reimagines and reanimates the six wives as members of a pop girl group. Although Henry VIII is recognized for feats such as becoming the head of the church of England and helping to establish a Royal Navy, he is more widely known for the tragic ends to his six marriages, which follow the popular saying, “Divorced, beheaded, died divorced, beheaded, survived.” I was somewhat familiar with the story of the infamous King Henry VIII prior to hearing about “SIX: The Musical,” whether it was from a passing mention of the Protestant Reformation in history class or the many fictionalized dramas centered on his life.
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