‘SIX The Musical’ at Detroit’s Fisher Theatre Proves That Every Queen Deserves Her Own Crown
Divorced. Beheaded. Died. Divorced. Beheaded. Survived. If you’ve seen SIX The Musical, chances are those six words immediately trigger a familiar melody, a little choreography, and perhaps the sudden urge to throw on a crown. The Tony Award-winning musical has become something of a theatrical phenomenon, transforming the six wives of Henry VIII into modern-day pop stars who finally get the opportunity to tell their stories. Now back at Detroit’s Fisher Theatre, SIX continues its reign with another national touring company, bringing the same infectious music, flashy costumes, and unapologetic attitude that have made the production a favorite among Broadway audiences.
But having seen SIX numerous times myself, both on Broadway and across at least three different national touring productions, I’ve come to appreciate something about this musical that I don’t think gets nearly enough attention. For a show that follows such a specific formula, SIX offers a remarkable amount of artistic individuality. And I would argue that’s one of the biggest reasons audiences continue returning to the Queendom.
[Warning: spoilers from SIX the Musical are below!]
History gets a pop-star makeover
Created by Toby Marlow and Lucy Moss, SIX takes one of history’s most infamous kings and shifts the spotlight to the women whose identities have largely been reduced to their relationships with him. Rather than presenting a traditional historical musical filled with elaborate scene changes and dramatic reenactments, SIX operates as an 80-minute pop concert.
Each of Henry VIII’s six wives competes to become the group’s lead singer by arguing that she endured the most hardship during her marriage to the king. Naturally, this competition unfolds through a collection of catchy, contemporary pop songs that draw inspiration from the sounds and personalities of modern music icons. From Catherine of Aragon’s commanding opening number to Catherine Parr’s ultimately empowering conclusion, the production blends history, humor, heartbreak, and some genuinely impressive musical storytelling.
Of course, SIX’s brilliance is that what initially appears to be a competition between women eventually becomes a celebration of their individuality and shared experiences. It’s a relatively simple premise, but one that still resonates with audiences. One of the biggest challenges facing long-running Broadway productions and national tours is maintaining consistency. Audiences expect a certain experience. The choreography needs to remain recognizable, the music needs to sound familiar, and the overall production must deliver what people have come to associate with the show. And while that consistency is important, it can also create a cookie-cutter theatrical experience.
I’ve attended productions where the performances felt so closely modeled on previous casts that it was hard to distinguish one company’s interpretation from another. That isn’t necessarily a criticism. Maintaining a show’s established artistic vision takes tremendous skill. However, it can sometimes leave returning audiences feeling as though they’ve simply watched the exact same performance with different people wearing the costumes.
What continues to fascinate me about SIX the Musical is how successfully it avoids that feeling. Yes, the choreography remains familiar. Yes, the costumes retain their signature aesthetic. And yes, each queen follows the same general character arc. But each character’s personality can change dramatically depending on the actress portraying her.
One Catherine of Aragon may lean heavily into regal authority, while another finds opportunities for humor and attitude. Anne Boleyn can feel mischievous and playful in one production, then considerably more sarcastic and chaotic in another. Jane Seymour’s emotional centerpiece, “Heart of Stone,” offers similar interpretive opportunities. Some actresses approach the song with a softer vulnerability, while others emphasize its strength and resilience. Even the production’s comedic rhythm can shift depending on how individual performers approach their characters. These differences may seem relatively minor on paper, but within a show driven almost entirely by six individual personalities, they can significantly change the overall experience.
And that, to me, is what makes SIX so interesting. Rather than relying entirely on the strength of its established material, the show allows the women performing it to become part of its identity.
The Queens: six characters, endless possibilities
The current national touring production features Christina Jones as Catherine of Aragon, Brittany Smithson as Anne Boleyn, Melina Savannah Cruz as Jane Seymour, Shelby Griswold as Anna of Cleves, Thabitha Moruthane as Katherine Howard, and Nina Ann Nelson as Catherine Parr.
Each role offers a different opportunity to explore the show’s unique balance between historical storytelling and contemporary pop performance. Aragon establishes the evening’s confidence and authority, while Boleyn introduces a much more comedic and unpredictable personality. Seymour provides a moment of emotional vulnerability before Cleves brings the energy right back with her unapologetic celebration of independence. Howard’s story takes the audience into considerably darker territory, while Parr ultimately challenges the competition itself and reminds the audience that these women deserve to be remembered for more than their marriages.
One particularly interesting example of the show’s flexibility comes from Griswold, who previously portrayed Jane Seymour in another production of SIX before returning to the Queendom as Anna of Cleves. Those two characters couldn’t be more different in their musical styles or emotional journeys. Seymour requires a performer who can ground the production in sincerity and vulnerability, while Cleves thrives on confidence, comedy, and larger-than-life stage presence. An actress’s ability to navigate both roles speaks to the versatility required of the performers and the unique opportunities this musical creates.
It’s also a reminder that there isn’t necessarily one definitive interpretation of these historical figures. The characters may be established, but the people playing them have room to make those characters their own.
Why audiences keep returning to the Queendom
There are plenty of Broadway musicals that I’ve absolutely loved but wouldn’t necessarily feel compelled to see again immediately. Once you’ve experienced the story, admired the performances, and appreciated the production design, another viewing may not offer much beyond nostalgia.
SIX occupies a different category. Because the musical emphasizes the personalities of its performers, a new cast gives you a new reason to return. It’s like attending a concert with a different lineup of artists performing the same material. The songs may be identical, but the energy, interpretation, and emotional connection can vary considerably.
For returning audiences, there’s also something enjoyable about comparing different portrayals without necessarily declaring one version superior. Maybe you preferred the comedic interpretation of Anne Boleyn from a previous tour. Perhaps this time you connect more strongly with Catherine Parr. Or maybe a queen who previously wasn’t your favorite suddenly becomes the highlight of the evening.
That’s the beauty of live theatre. And SIX embraces it particularly well. Rather than treating its performers as interchangeable components of a carefully constructed production, the musical demonstrates how individual artistry can contribute to a show’s ongoing identity. For a musical that ultimately celebrates women reclaiming their voices, that feels especially appropriate.
Long live the Queens of SIX
After seeing SIX on Broadway and through multiple national tours, I’ve reached a point where the biggest question isn’t whether the production is going to entertain me. I know the music. I know the jokes. I know the choreography and the story. What I don’t know is exactly how the actresses stepping into these roles will interpret the material. And increasingly, that’s what keeps bringing me back.
There is something genuinely refreshing about a Broadway musical that maintains a recognizable identity while letting its performers bring so much individual personality. In an industry where productions are often meticulously replicated from one company to another, SIX demonstrates that consistency and creativity don’t necessarily have to exist at the expense of one another. The music remains infectious, the concept remains clever, and the overall experience still offers an energetic alternative to more traditional musical theatre.
But for me, the true magic of SIX isn’t simply found in its soundtrack, historical references, or extravagant costumes. It’s found in the women who bring these characters to life.
Through November 8th only, SIS the Musical will be at The Fisher Theatre, so get your tickets on ATG Detroit’s website or at the box office to see this Broadway bop! For more information about this touring production, including when it arrives in your city, check out its official page! Have you seen SIX before? If not, are you excited to finally see this musical on its North American tour? Share your thoughts with us at @bsb.insider on all social media platforms, and we look forward to seeing you at the show!
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