Tag Archives: In Cinemas

SIX THE MUSICAL LIVE

★★★★

In Cinemas

SIX THE MUSICAL LIVE

In Cinemas

★★★★

“captures all the magic of a live show, while also allowing the audience to view all of the incredible detail that’s gone into making Six what it is”

It’s the pipeline that every young, Fringe theatre-maker in the country dreams about — from Edinburgh Festival Fringe to West End sensation. Not only has Six accomplished those heights, but it’s also enjoyed a very successful Broadway transfer (even with that classic 2020 hiccup that we all love talking about), an Australian tour, a stint on Norwegian Cruise Lines, and endless other international tours in the works. Its original West End cast, along with one of their understudies, have even gone on to start their own girl group, SVN — and yes, that is “seven” stylized — and rightly so. Together, this cast are an absolute powerhouse. And now they’ve been immortalized as the iconic Queens of Six on film.

Having never seen the stage musical before, I went in with very little knowledge on the show itself. The premise is simple enough — the six wives (ex-wives, they wish to remind us) of Henry VIII have gathered to tell us their stories and to ask us… which one of us had it worst? One would think it’s pretty difficult to compete with being beheaded à la Anne Boleyn and Katherine Howard, but the truth of the matter is a bit more complicated than that. In an effort to help us understand each of their individual tragedies, they each decide to treat us to something of a pop-solo-slam about what Henry put them through. But this is no straightforward sob story. Each Queen seeks to retake some control of her own narrative.

Six is clearly a smash-hit for a reason. The songs, written by the show’s creators Toby Marlow and Lucy Moss, are catchy and clever, as are the asides written for each Queen between the ballads. The costumes, designed by Gabriella Slade, are not only gorgeous, but thoughtful in the way that they compliment each Queen. The message is heart-warming, but it definitely plays it a bit safe, as musicals tend to do — it’s entry-level, “girl power” feminism, but it serves as a great way in for young viewers who need to hear that message.

The real meat of the thing though, is the experience that the live film offers. It captures all the magic of a live show, while also allowing the audience to view all of the incredible detail that’s gone into making Six what it is. It also serves to showcase the individual performance of each stunning Queen (the original West End cast of Jarnéia Richard-Noel, Millie O’Connell, Natalie Paris, Alexia McIntosh, Aimie Atkinson and Maiya Quansah-Breed). Each one gets her moment in the spotlight, of course — and each deserves to have her performance preserved in this way. The direction by Liz Clare is absolutely commendable, it’s dynamic, exciting, and extremely engaging – and most importantly, it does the show justice.

This is a pro-shot that will undoubtedly offer widespread access to a culturally important West End show that many folks might otherwise never get to see — and if that’s not an incredible rewrite of theatre history, I don’t know what is.



SIX THE MUSICAL LIVE

In Cinemas

Reviewed on 2nd April 2025

by Stacey Cullen

Images © Universal Pictures UK

 


 

 

Previous ‘In Cinemas’ review:

MACBETH | ★★★★ | January 2025

 

 

SIX THE MUSICAL LIVE

SIX THE MUSICAL LIVE

SIX THE MUSICAL LIVE

MACBETH

★★★★

In Cinemas

MACBETH

In Cinemas

★★★★

“For Tennant’s performance alone, it is worth seeing this production”

After a critically acclaimed run at the Donmar Warehouse, Max Webster’s Macbeth is being brought to the screen. Filmed theatre is a tricky beast, on the one hand it provides accessibility and longevity, on the other it often struggles to capture the pin-drop intensity of being in the room. This film manages, mostly, to capture the magic. It’s a different experience but it’s still a sublime production.

Webster’s thoroughly modern and psychologically fraught show, pares back the theatricality and leaves us with a claustrophobic tale of untamed ambition and hubris.

We open on a close shot of a bowl of water. Blood drips into it, droplet by droplet. David Tennant as Macbeth, sits, wringing the blood from a cloth. The tight shot of his face allows us to see every ripple of anguish. For his performance, the film is worth it. He is tortured and conniving, witty and sensual, mad and ashamed. It is the kind of performance that defines a character. It’ll be referred to in textbooks of the future.

The design is sparse and monochromic. A bright white stage (designed by Rosanna Vize), actors in black (save Lady Macbeth in white) and a dark glass backdrop. Through this we see the larger cast, multi-roling into a chorus, who commentate and berate from the other side. The glass is interesting, it allows some chilling moments (a running child covered in blood, tree branches tickling the glass) but the brightness of the white stage is more effective. The film includes aerial shots, allowing us to see people lying on the stage, dancing on the stage, dying on the stage. This is a bonus of the film; it gives you a chance to view the piece from every angle.

In the stage play Webster had audience members wear headphones, with actors whispering in their ears to create a near immersive surround sound. This works in a cinema, and does make the audience feel more immersed, though it lacks the innovative punch of the original concept.

While it’s really Tennant’s show, the rest of the cast are very strong. Cush Jumbo as Lady Macbeth is a loving version, coming alive in her frustration and embarrassment at her husband’s unravelling. Their connection, and chemistry, gives a sexy heartbeat to the relationship. Jatinder Singh Randhawa as the Porter is hilarious, ad-libbing away and playing on the audience’s headphone wearing. Rona Morison as Lady Macduff is subtle and tragic. Noof Ousellam’s Macduff brings tears to the eyes in his quiet grief, definitely making him an actor to look out for.

The more theatrical moments don’t translate so well to screen, the visit from the witches fails to stir the necessary fearfulness. The show chooses the psychological over the magical, which works, but means when it strays into prophecy it feels incongruous. Similarly, what gets noticed on screen is less forgiving. The costumes leave a little to be desired, for instance everyone is in patent leather Chelsea boots. Interestingly that’s something that would be easily ignored on stage, but is glaring on screen.

This has not entirely converted me to the wonders of filmed theatre, but it has definitely softened me towards it. While it is undoubtably not as good as being there, it is a close second. For Tennant’s performance alone, it is worth seeing this production.



MACBETH

In Cinemas from 5th February

Reviewed on 20th January 2025

by Auriol Reddaway

Photography by Marc Brenner

 

 

 


 

 

Previously reviewed at the Donmar Warehouse:

NATASHA, PIERRE & THE GREAT COMET OF 1812 | ★★★★★ | December 2024
SKELETON CREW | ★★★★ | July 2024
THE HUMAN BODY | ★★★ | February 2024
LOVE AND OTHER ACTS OF VIOLENCE | ★★★★ | October 2021

MACBETH

MACBETH

MACBETH