With a regally splendid all new cast, Six the Musical kicks off its third Australian Tour in peak form, with comedy, choreography, and killer vocals all at a premium.

Divorced, Beheaded, Died

Divorced, Beheaded, Survived

This devilishly simplified mantra captures both the self-deprecating humour and the re-seizing of agency at the heart of returning smash hit Six the Musical. Creators Toby Marlow and Lucy Moss tapped into a universally familiar set of women, knowing that a wise and witty exploration of their stories would perfectly fit the zeitgeist of a modern female audience. 

Beginning with a modest Edinburgh Festival Fringe presentation in 2017, Six the Musical has gone on to conquer the world stage, with its West End and Broadway productions running continuously and multiple international productions at play. 

Unlike those West End and Broadway seasons that play on indefinitely, the Australian model has always been far superior; launching musicals afresh creates far more exhilarating experiences for fans to revisit and rediscover.  The attraction of new casts, in particular, generates plenty of excitement. 

This current cast of Six the Musical is the perfect exemplar, completely defying the law of diminishing returns to make the fabulous roles their very own. For a premiere performance, the dance moves are astoundingly sharp and tight, and the shared humour zings and sparks. This impressively high quality adds significantly to the enjoyment of the repeat viewing, bringing abundant fresh life to the musical.

The rock concert conceit of directors Moss and Jamie Armitage fills the intimate auditorium of the Comedy Theatre with blazing light and sound. Full credit to associate director Sharon Millerchip and assistant Christina D’Agostina for preparing the six new Queens to such a high standard, both in regard to the dazzling individual performances of each and the wonderfully cohesive vibe of the group as a whole. The fact that the quieter, more serious moments are as compelling as the high octane sequences is testament to the careful direction and quality of performances.

D’Agostino also ably supports international associate choreographer Freya Sands in re-creating the deceptively simple yet visually spectacular choreography of Carrie-Anne Ingrouille. 

Performed on a single concert-style set, designed by Emma Bailey, the musical maintains abundant visual interest with the inventive, concert-like lighting design of Tim Deiling and the iconic costume designs of Gabriella Slade. Using extraordinary materials, Slade deftly blends historic and current fashion in highly individual costume confections that has each Queen sparkling in her signature colour. 

The pastiche pop songs of Marlow and Moss are delightfully infectious, full of toe-tapping ear worms. Music director Claire Healy leads the band of four rocking musicians, known as the Ladies in Waiting, in terrific on-stage performances, fittingly acknowledged and cheered on by the Queens. 

Bringing statuesque authority to Catherine of Aragon, Sarah Murr delivers a strong start to proceedings. With a wicked twinkle in her eye, Murr accesses her best Beyoncé belt for brassy ballad “No Way.” 

Mia Paris Scalise cheekily contrasts her innocent countenance with Anne Boleyn’s tendency for sassy self promotion. Scalise perfectly channels Avril Lavigne for super catchy bop “Don’t Lose Ur Head.”

Scoring some of the best laughs with her cheeky deadpan delivery, Cara Bessey also has the requisite gravitas to slow the mood down for the sombre story of Jane Seymour. Bessey is the ideal incarnation of Adele as she croons “Heart of Stone.”

Kadesa Honeyhill goes to town on the hilarious concept of the portrait of Anna of Cleves being updated as a Tinder profile pic. With a nod to the stage energy of Rihanna, Honeyhill makes the role all her own, wowing the crowd with the night’s only instant-change costume trick during her poppy anthem “Get Down.”

Looking every inch a modern pop diva, Angela Brischetto swishes her hot pink ponytail with flair as Katherine Howard. Brischetto works the crowd like a pro with “All You Wanna Do,” bringing to mind Ariana Grande and yet also creating her own unique style. 

Experienced performer Lorinda May Merrypor shines in the key role of Catherine Parr, the voice of reason who brings the (deliberately) superficial popularity contest to a halt. Merrypor brings a touch of Alicia Keys earthiness to soulful ballad “I Don’t Need Your Love.”

Perfectly positioned to attract new audiences and entertain returning fans, Six the Musical is as close to a guaranteed good time as the theatre has to offer. 

Six the Musical plays at Comedy Theatre, Melbourne until 4 October 2026. For tickets, click here.

Six the Musical plays at Theatre Royal, Sydney from 9 October 2026. For tickets, click here.

Six the Musical plays at Playhouse Theatre QPAC, Brisbane from 2 January 2027. For tickets, click here.

Photos: James D. Morgan