Tag Archives: Christina Modestou

Six – 5 Stars



Arts Theatre

Reviewed – 15th January 2018


“an exuberant and joyful musical treat”


Divorced. Beheaded. Died. Divorced. Beheaded. Survived. The story of Henry VIII’s wives is probably one of the most familiar parts of British history, having inspired countless movies, novels and TV adaptations. But I challenge anyone to find one as uplifting and empowering as Lucy Moss and Toby Marlow’s Six. A stunning ensemble piece, pitch perfect with its tongue firmly in a cheek. The cast are vocally impeccable, each performing with an individual charm and flair that blends flawlessly. The score is bright, fun and rockets along. It is very hard to stay in your seat as the urge to dance along stays with you after the curtain comes down. This is a bright, brash girls night with a pumping sound track. But there is a message in the madness and it lands full force thanks to the spirit and energy of the performers.

The story may be well known – Henry VIII a man who abandoned his faithful wife for a younger model, then bullied, bored and executed his way through 5 more, reshaping England along the way – but this show is not just about history. It’s about challenging women’s narratives and redefining the roles. These women have been cast as victims – even Parr who ‘survived’ Henry is rarely considered more than a footnote in his story. This show tackles that head on. The premise is simple – each wife gives their case to the audience to prove themselves the true Queen by proving that they suffered the most. But what we see is not a collection of sob stories, whinging and wallowing. These ladies kick arse, (literally in some cases), and the result is one of the most jubilant and energetic takes on the six I have ever seen.

Far from indulging in weakness, the show highlights the strength, humour and depth in these characters creating six well rounded and charismatic women for the modern day. And some of their problems don’t seem that far removed from 2018 – we even see the Tudor version of Tinder. The first three, perhaps the most familiar due to the controversy surrounding Anne, kick against the stereotypes. Far from the dutiful wife, Catherine of Aragon (Renée Lamb) has sass and attitude, blowing in a with a ballsy number that demands answers. Neither the scheming seductress or manipulated pawn, Anne Boleyn (Christina Modestou) is just a girl who wants to have fun with perhaps the most catchy number of the night, (I’ll confess to humming that one on the way home). And though earnest, Jane Seymour’s (Natalie Paris) ballad resonates with strength and power. There are no shy or shrinking violets on this stage.

Perhaps because they are so often overlooked elsewhere, it’s the second half that really holds some surprises. Had the crown really been up for grabs, my vote would have gone to Anne of Cleves (Genesis Lynea). With her hip hop anthem Queen of The Castle, the 4th queen is celebrated as the one who played the game and ultimately came out a winner, even if history has been unkind. But its not all innocent glee. Catherine Howard (Aimie Atkinson), performing an Arianna Grande style pop song with added bravado, has a heart wrenching moment of poignancy as she literally gets stuck in her own rhythm. Finally Catherine Parr (Izuka Hoyle) – the survivor. This is where the show really flips. Catherine’s song breaks the narrative and dares to offer a view on the character not coloured by Henry. She calls out the history books for relegating these women to the roles of wives, props in Henry VIII story. The final note of the show is not the six bickering over their role in a man’s story – it’s six women coming together to be seen as individuals and it had the whole audience cheering and clapping along.

Six is an exuberant and joyful musical treat – the perfect antidote to Black Monday and a great show to see in the new year.


Reviewed for thespyinthestalls.com

Photography by Josh Bird


Arts Theatre link


Arts Theatre until 22nd January



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35mm: A Musical Exhibition

The Other Palace

Reviewed – 20th September 2017





“Oliver’s lyrics have shades of light and dark, but do occasionally feel contrived and exacting”



The concept is fascinating: a series of photographs have inspired songs. Whilst each photograph is deliberately abstract and enigmatic, composer and lyricist Scott Oliver has managed to tease out a narrative from each image, dressing them in human form and creating a varied gallery of vignettes.

The accent is clearly on the music rather than the photographs. Projected onto the back wall during the accompanying songs, they were sometimes lost, sometimes irrelevant and sometimes confusing. But the songs hold the show together, and trying to discover a through line quickly becomes unnecessary as the audience relaxes and enjoys the performances.

The musical arrangements sweep a broad spectrum, encompassing rock, gospel, country, pop, musical comedy amongst other genres. But there is a danger that it becomes too much of a mixed bag. It is at its best when kept simple, giving space to the gorgeous harmonies of the singers. Each of the five cast members are allowed to shine at various points, but nobody attempts to steal the show, always sensitive to the belief that the landscape is more important than the snapshot.

Oliver’s lyrics have shades of light and dark, but do occasionally feel contrived and exacting, and although the melodies too are sometimes overly intricate, the performers rise to the challenge. Stand out moments are Gregor Duncan’s and Samuel Thomas’s duet: “The Seraph”, “Leave Luanne” with its staccato cello arrangement reminiscent of The Beatle’s Sergeant Pepper, and “Mama, Let Me In” whose sparse piano yields to a cross wave of gospel harmonies.

The evening does, however, steer close to indulgence. Like a seventies concept album there is insufficient awareness of the audience and as such one can feel disengaged. I did ask myself ‘who is this for?’ in the same way I would at an installation. This isn’t musical theatre, but then again it probably never set out to be. But it does need something more; visually it remained weak, and budgetary restrictions gave scant justice to the back projections of the photographs. But Adam Lenson’s uncluttered direction uses these restrictions to his advantage, adapting well to the intimacy of the studio space, placing the accomplished six-piece band alongside the audience.

Although the concept is fascinating, it still feels it’s at the conception stage. In parts underdeveloped, but you can make allowances for this, and the accomplished performances make it quite thrilling. For music fans of any genre this is highly recommended.


Reviewed by Jonathan Evans

Photography by Nick Brittain Photography




is at The Other Palace until 30th September 2017



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