SIX: Henry's Wives on Stage

When I saw that the musical Six was making its North American premiere in Chicago, a mere 90 minutes from my home, I was quick to get in line for tickets. For those who haven't heard of it, Six is a musical blend of history (ahem, herstory), pop music, and comedy featuring Henry VIII's wives. I had listened to the soundtrack before attending but was still surprised by some of what we saw on stage at the Chicago Shakespeare Theater.

As you can see from the show poster, the costumes are not precisely accurate to the 16th century. Think Tudor meets the 80s, and you've probably got it pictured quite well. Other than a hint of Greensleeves, the music is also more reminiscent of Brittany Spears than Thomas Tallis. So, yeah, anachronisms abound, but wow is it FUN!

Six is no Les Mis, but there are some surprisingly touching moments. Who doesn't feel sympathy for Katherine of Aragon when she is in kneeling before a cross begging Henry to tell her one thing she did wrong? Or wish for another option for Katherine Parr when she tells Thomas Seymour that she has to marry the king instead, claiming "I don't need your love"? Those moments I expected. I was not prepared for Katherine Howard to break down sobbing after her song started with, "I think we can all agree, I'm the 10 amongst these 3s!" It began fun & flirty, but ended with her feeling used and abused, and, of course, headed to the scaffold.

Henry's wives break as many modern rules of theatre as they did 16th century marriage rules. The audience is invited to participate and cheer for the wife they believe got the shortest end of the stick from Henry. (Does beheading trump abandonment after 24 years? AB & KH think so.) The music is a bit shallow but includes loads of historical puns and jokes for those who catch them. Sometimes, it's a titch too silly. (I'm looking at you "Haus of Holbein.") At the end, the wives decide to tell their own stories, or what they wish they had been. Only Jane dreams of a home full of little Tudor babies with her beloved Henry.

Some won't appreciate the way Anne Boleyn is portrayed as more of a teenage floozy than an early feminist when she sings, "Sorry, not sorry, bout what I said. I'm just trying to have some fun. Don't worry, don't worry. Don't lose your head. I didn't mean to hurt anyone." Her costume has an ironic Catholic schoolgirl look to it. She's irreverent and hilarious.

Most pleasantly surprising was Anna of Cleves, who is bold, confident, and forced to admit that there's no way she can win the worst treated wife competition. Her "Get Down" where she brags about her sweet annulment settlement was probably my favorite part of the show. "I look more rad than Lutheranism. Dance so hard that I'm causin a sensation. Okay ladies, let's get in reformation." Yes, I said it. Anna of Cleves was the best part of the show. Who knew? (Well, Anna did.)

Six may be trying to be the UK's answer to Hamilton, but, much as I loved the show, it is not quite there. Hamilton packs a greater emotional and musical punch, but I highly recommend Six as well. And, hey, the tickets are MUCH cheaper.

My 17-year-old daughter and I loved it. My husband said he almost leaned over to ask if we were at the right show, so you'll have to make your own judgement. At the end of the show, the audience was encouraged - yes, encouraged(!) - to take pictures and video, so here's a little sampler for you from the Chicago cast.

Anne Boleyn's apology to Princess Mary

Anne Boleyn in the Tower
by Edouard Cibot

Anne Boleyn enjoys much popularity today, almost certainly more than she did while alive. From our modern, enlightened point-of-view, we like to make her out to be a proud, independent woman in a time when women were told to be submissive. The only woman often held up as a better example of 16th century feminism is her daughter, who became Queen Elizabeth I.

Although I do not admire neither Anne nor Elizabeth anywhere near as much as some, I can appreciate that both did make their mark on history. If I see them as a little more self-serving than bold, I hope their fervent fans will forgive me.

Clearly, Anne realized that she had indeed been wrong in her treatment of Henry VIII's eldest daughter, Mary. Anne caused Mary to lose the title of princess that she had held since birth, and Mary refused to recognize Anne as queen. It was a relationship doomed from the start, and neither desired to make any effort toward improving it. Both were known to wish for the death of the other.

However, when Anne's execution was approaching, she decided to apologize to Lady Mary. She had no reason to go out of her way to do so in her last hours, but she called for Lady Kingstone, wife of the Constable of the Tower, and asked her to relay her message of repentance. According to Martin Haile, Anne knelt before Lady Kingstone and requested that she, 'throw herself in like manner at the feet of Lady Mary, and beseech her to forgive the many wrongs which the pride of a thoughtless, unfortunate woman had brought upon her.'

Since she applied for permission to visit Lady Mary after Anne Boleyn's execution, it is believed that Lady Kingstone delivered the message. While Anne may have owed Mary that apology, one can easily argue that both women's problems were much more due to Henry VIII than each other. A bastardized daughter and insecure queen were unlikely to ever make amends before faced with their own mortality.

4 August 2022 NOTE: Because of continuous comments on this post that do not add to civil discourse, I am shutting off commenting for this post. Please, still feel free to use my contact form or join in other discussions on this blog! I apologize to those many dear readers who are not part of the problem. Thank you for your understanding. ~ Samantha