Tag Archives: Stacey Cullen

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

APEX PREDATOR

★★

Hampstead Theatre

APEX PREDATOR

Hampstead Theatre

★★

“the entire cast do as much as they can with the raw tools they’ve been given”

Has the time arrived for a new vampire story? John Donnelly thinks so. But unfortunately, his newest play, Apex Predator, can’t quite seem to decide what it wants to be — a commentary on postpartum depression and psychosis, or a horror-comedy about vampirism as an allegory for modern life. In trying to straddle the line between both worlds, it never really succeeds at either.

From the opening moment, we are reminded that London is a city of violence. Not only that, but no one in this city is going to help you, not really. If you expect to survive, you’re going to have to be strong. But Mia (Sophie Melville) is hardly feeling strong at the moment — her newborn, Isla, won’t feed. Her son, Alfie (Callum Knowelden), is being bullied at school. And on top of it all, her husband Joe (Bryan Dick) is sometimes away for days at his secretive job. When he does come home, they mostly bicker. Mia is exhausted. The neighbours are a nuisance, throwing parties with loud music, forcing Mia to bounce Isla to sleep night after night, and Joe seems… well, entirely unbothered by this. If anything, he appears agitated that his wife is having a tough time. Enter Alfie’s new art teacher, Ana (Laura Whitmore), who may just be able to offer Mia a way forward. The premise is interesting, if a bit old hat. How do we protect ourselves, but especially our children, in a world that grows more dangerous by the day? It’s unfortunate that each idea in the script feels under-developed, spawning into some new thread, while we ache for the previous thread to be tied.

Blanche McIntyre’s direction is confusing at times. Moments that feel like they deserve a bit more room to breathe are quite rushed, namely Mia and Ana’s very first meeting. Mia has rushed to Alfie’s school, to assert her son’s right to defend himself — he’s bitten another child, which feels like a bit of a flat pun, given the subject matter — and Ana switches from critical school bureaucrat to close confidante in ten seconds or less. Some dialogue is played for uncomfortable laughs, when the topic at hand feels anything but funny. In one specific moment, Mia runs round and round in circles, trying to find an escape, when there’s a relatively obvious one in front of her — a door that someone else has walked in through, just moments before. Whether this is down to McIntyre or the production’s Movement Director, Ingrid Mackinnon, is difficult to say.

But there are bright spots here. Whitmore is excellent as Ana, despite her character’s somewhat unconvincing arc. Melville is fascinating to watch as she swings between clarity and madness. Truthfully, the entire cast do as much as they can with the raw tools they’ve been given. The lighting and sound design (Jack Knowles and Chris Shutt, respectively) work together quite synergistically, particularly in a very short scene during the second act that evokes a moment from a slick on-screen horror. It’s just a shame that the story as written doesn’t allow for more of these gorgeous vignettes. The set design (Tom Piper) is excellent making great use of a relatively small space, surrounded by imposing scaffolding. The claustrophobia, the grit of a city like London is keenly felt.

All in all, the potential is there. One simply wishes that Donnelly had — forgive me — sunk his teeth in a bit deeper.



APEX PREDATOR

Hampstead Theatre

Reviewed on 31st March 2025

by Stacey Cullen

Photography by Ellie Kurttz


Previously reviewed at this venue:

THE HABITS | ★★★★★ | March 2025
EAST IS SOUTH | ★★★ | February 2025
AN INTERROGATION | ★★★★ | January 2025
KING JAMES | ★★★★ | November 2024
VISIT FROM AN UNKNOWN WOMAN | ★★ | July 2024
THE DIVINE MRS S | ★★★★ | March 2024
DOUBLE FEATURE | ★★★★ | February 2024
ROCK ‘N’ ROLL | ★★★★ | December 2023
ANTHROPOLOGY | ★★★★ | September 2023
STUMPED | ★★★★ | June 2023

APEX PREDATOR

APEX PREDATOR

APEX PREDATOR