The (‘Six’) real/royal wives of Henry VIII

The unapologetically revisionist, wildly enjoyable rock musical global sensation that we’re losing our heads over.

BY BLAIR HOWELL

It’s 80 minutes long — but wow! Those 80 minutes rock with fierce intensity that is explosively joyous.

The wildly popular and infinitely clever musical Six is a feminist revision of history/pop concert that stars the beleaguered Tudor Queens as a group of pop divas, each telling her individual story through song in a competition, for “the queen that was dealt the worst hand shall be the one to lead the band.” The most maligned and ill-used wife in history triumphs.

The sextet of cheeky spouses has been waiting for centuries to give some rebellious perspective to their demise after being wed to Henry VIII. “So (we) picked up a pen and a microphone,” they sing. “History’s about to get over-throned.”

Reimagined as a contemporary riff on King Henry’s desperate striving for a healthy male heir, Six has reigned supreme on Broadway since October 2021 and now dazzles Salt Lake City audiences.

Monica Lewinsky and Lorena Bobbitt have reframed their own stories, while Six goes back 500 years. Henry’s brooding marriages were bloody, messy, church-reforming, and pored over by gossipy historians.

The songs are Six’s crown jewels: There’s a reason why the show was Tony-awarded for the exuberant score and why its various cast albums have broken records for downloads and streams. The often-funny and occasionally moving musical numbers are drenched with a love for pure pop, royal history, and giving the exes their due.

The empowered, empowering megastar queens take center stage and provide backup vocals while executing (excuse the pun) kinetic choreography. When each wife gets her moment to take the spotlight and go solo, the audience roars with enthusiasm.

My favorite wife, the headstrong, divorced Catherine of Aragon, is played by Gerianne Perez, who moves and sounds like a Beyoncé-esque pop princess. “You must think that I’m crazy / You wanna replace me? / Baby, there’s n-n-n-n-n-n-no way / If you thought it’d be funny / To send me to a nunnery / Honey, there’s n-n-n-n-n-n-no way / No way.”

Singing the show’s only ballad, “Heart of Stone,” is Amina Faye as Jane Seymour. She belts like there’s no tomorrow: “You can build me up / You can tear me down / You can try, but I’m unbreakable / You can do your best / But I’ll stand the test / You’ll find that I’m unshakeable.”

My favorite lyrics are “I wanna dance and sing / Politics, / Not my thing,” sung by Zan Berube, who brings a vivid personality and impeccable comic timing to the role of the playful, petulant, beheaded Anne Boleyn. “Sorry, not sorry ’bout what I said / I’m just trying to have some fun / Don’t worry, don’t worry / Don’t lose your head / I didn’t mean to hurt anyone / L-O-L / Say ‘Oh, well’ / Or go to hell.” Hawked by lobby vendors is the most popular sprightly purple “Sorry, Not Sorry” t-shirt.

As with a frenzied rock show, there’s a supreme live band. Generally six, but on tour, there are four nimble players — on keyboards, guitar, bass, and drums — known as the Ladies in Waiting.

After savoring two Broadway stagings and two productions here in Salt Lake, I’m two away from the targeted six performances (of Six).

A welcome respite from formulaic jukebox musicals, the boldly dazzling Six rules as a solid 10 on the entertainment scale, as a Tudor The Voice. Long live the (dead) queens!

Through Jan. 21, arttix.org

Next on the Broadway at the Eccles schedule is the jukebox bio-musical MJ, a thriller tribute to Michael Jackson. While the show doesn’t begin to fully reflect the pop legend Man in the Mirror, it’s a thrilling experience that mostly avoids his major and minor foibles. (Remember Bubbles the chimpanzee in a white tux and tails at the Oscars?)

Feb. 27 through March 3, also arttix.org