If Hamilton cracked open up the door for up to date musicals about historic figures that includes multi-ethnic casts, then 6 has kicked that doorway open in stiletto boots and fiercely strutted by it. Several would have guessed that a pop music-cycle about the six wives of England’s King Henry VIII could effectively expand from the Edinburgh Fringe to the Good White Way — with stops on the West Stop and Norwegian cruise ships alongside the way — but Toby Marlow & Lucy Moss’ infectious soundtrack has turn out to be a throughout the world phenomenon. (If you haven’t heard of it, talk to any tween girl.)
The national touring generation of 6 checking out the Dr. Phillips Middle this week demonstrates Orlando audiences what all the fuss is about.
Despite only acquiring a single, easy established (designed by Emma Bailey, dynamically lit by Tim Deiling), this tightly paced 80-minute manufacturing is a feast for the eyes, many thanks to Moss and Jamie Armitage’s polished path, Carrie-Anne Ingrouille’s MTV-ready choreography, and costumer Gabriella Slade’s rhinestone-studded corsets.
Additionally, it is a fantastic showcase for the powerhouse vocal skills of the show’s six co-starring queens, who are backed by a blistering all-female band. It’s difficult to select a favorite performer among this wonderful sextet, which incorporated dance captain Cassie Silva as Katherine Howard on opening night time (understudying for Didi Romero), alongside with Gabriela Carrillo as Catherine Parr and Storm Lever as an Avril Lavigne-motivated Anne Boleyn.
But Khaila Wilcoxon’s Beyoncé-fashion Catherine of Aragon stole the present, as did Olivia Donalson as a Rihanna-esqe Anne of Cleves, and Orlando native Jasmine Forsberg (as Jane Seymour) introduced the residence down belting the evening’s best ballad.
When a demonstrate like Six is ready to draw a new viewers to the theater, produce catchy tunes with witty lyrics, and however get you out the doorway ahead of 10 p.m., it appears petty for me to nitpick that the “most abused ex-wife” framing story that supposedly ties the show jointly is rapidly settled, or that the finale’s uplifting feminism feels superficial.
But as a middle-aged white person, I’m practically the opposite of this show’s goal demographic. Just pay attention to the devoted enthusiasts shrieking at every single “What’s up, Orlando?” shouted from the stage, and view them lining up later on for goods, and you are going to know these Six have struck their mark.