“a sensational show … the script sizzles with wit”
Does Six need introducing? Is there anyone at this point who isn’t aware of the musical phenomenon that’s snowballed massively in popularity since 2018, resulting now in its permanent fixture at the Vaudeville Theatre? Probably not. Its simple but effective and easily marketable concept is what propelled the show so far, after all. But, three years on, does it still stand up, stand out, and hook you in?
For those unfamiliar with the premise (both of you), Six sees Henry VIII’s wives brought together on stage. They decide to perform for the audience in turn, each trying to prove that they were the wife who had it the worst. They all rise to the challenge, belting out anthems to the audience about the hardships they suffered, in what feels more like a concert than a run-of-the-mill musical: the band (led superbly by Lauren Hopkinson) are prominently on stage for the whole performance, the costumes (Gabriella Slade) look like they were stolen straight out of the wardrobe of the latest pop icon’s arena tour, and the set (Emma Bailey) and lighting (Tim Deiling) are clearly invoking the feeling of being at a gig. It makes for a spectacle for the senses which frequently dazzles.
The cast are also clearly having an absolute blast. Under the direction of Lucy Moss and Jamie Armitage, they work stupendously well together, quickly establishing defined characters through bickering interactions between songs and generating a rapport that’s a delight to watch. The standouts were undoubtedly Cherelle Jay and Alexia McIntosh, who in this performance played Anne Boleyn and Anna of Cleves respectively. Jay’s song, ‘Don’t Lose Ur Head’ is performed with enrapturing charm and cheekiness, while McIntosh’s smugness and interplay with the audience in ‘Get Down’ will leave your face hurting from the grin that’ll be plastered on it. The vocals from all the cast are also jaw-on-the-floor fantastic, with Hana Stewart (Catherine Parr in this performance) being especially exceptional.
Toby Marlow and Lucy Moss have crafted a sensational show together: the music would feel right at home in the charts but never forgets to serve the characters above all else, and the script sizzles with wit. There are some moments towards the end when it feels a little student-y, but it’s tremendously easy to overlook when the rest of the show is so joyous. Six is still totally superlative, and I expect it will continue to be for many years to come.
“DuBois is an exceptionally funny performer and certainly knows how to put on a show that will leave anyone in stitches”
Who wouldn’t want to attend their own funeral? With the opportunity to listen in to heartfelt eulogies from your nearest and dearest, you can’t go wrong. Certainly, that is how Myra DuBois, award-winning drag persona of Gareth Joyner and 2020 Britain’s Got Talent semi-finalist, sees it, using the theatrical plot device of her own death to stage a show in celebration of, you guessed it, herself. The new genre of theatre which she entitles ‘snuff cabaret’ takes us through the dearly departed’s highs and lows from her majestic birth (a star is born) to her questionable entanglement with her ex-wellness guru.
DuBois’ wit is unparalleled, especially when interacting with the audience. A particularly hilarious moment came when DuBois asked someone whether they had seen her perform before to which they said they had at a pub in Chiswick only a few weeks prior. Myra’s indignation at being reminded of such ‘lowly work’ whilst upon a West End stage was simply brilliant and became a recurring joke throughout the show. The queen’s comedy never lets up and barely a minute goes by without some sort of punchline or biting insult being hurled at those sat in the first few rows of the stalls. An extra bonus were those jokes directed at the audience at home as the show was being streamed online for those antsy about returning to live venues.
DuBois delivers three punchy musical numbers, the first to open her set emphasising just how ‘D E A Dead’ she really is. She goes on to sing about how selfish it would be for her to be an organ donor (as only one person rather than the masses would benefit from her sacrifice) in a jaunty ‘Always Look on the Brightside of Life’ style tune. The show closes with a rousing rendition of Elaine Paige and Barbara Dickson’s I Know Him So Well with Myra and the audience assuming these roles respectively.
Before Myra took to the stage however, Frank Lavender, a self-entitled sex symbol from south Yorkshire, warmed up the audience with an amusing yet near painful repetition of a series of ‘dad jokes’ which frequently elicited audible groans arose from the audience. Though his set was enjoyable, especially the sections featuring his second wife (and DuBois’ plainer twin) Rose, this was a questionable way to open the show as Lavender’s comedic stylings were unlikely to energise the audience. Followed as well by a lengthy thirty-minute break before Myra’s set, the first hour of the show lacked momentum though was quickly forgotten once DuBois stepped on stage.
Rose returned to the stage throughout the performance to support DuBois. Her most notable contribution was reading a poorly rhymed poem to honour her ‘deceased’ sister. Rose’s presence offered some variety and allowed for further brilliance from DuBois as she berated her less glamorous sibling.
The set is simple but highly effective. Four white columns topped with flowers frame the stage with an urn and large image of the departed at the centre. DuBois lamented how she wanted the stage to look like Buckingham Palace in 1997 but it in fact looked more like a school gate after a car crash with one bunch of gas station flowers discarded on the floor (just once example of the queen’s outrageous humour). The lighting was variable and playful, moving effortlessly between dramatic spotlights to colourful fanfare. DuBois looked phenomenal as well, her vintage hair and make up dazzling in the West End lights.
It is no surprise that Myra has such a dedicated legion of fans (which she brilliantly calls AdMyras). DuBois is an exceptionally funny performer and certainly knows how to put on a show that will leave anyone in stitches.
