Review: Musical 'Six,' about Henry VIII's wives, is unapologetically revisionist. That's why it's successful

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Review: Musical 'Six,' about Henry VIII's wives, is unapologetically revisionist. That's why it's successful
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In the musical 'Six' — now playing at the Hollywood Pantages and later in Costa Mesa — six Tudor queens tell their stories in a reality-esque, pop concert competition.

To put together a chart-topping girl group nowadays, you can go through the tedious ordeal of coming up with a fresh hook and holding months of auditions. Or you can find people who already have something in common — a unifying them — but represent a range of takes on it.

This is the strategy of Toby Marlow and Lucy Moss, the Cambridge University graduates who wrote the musical “Six” , now at the Pantages on its national tour. Like other recent productions that boldly set out to subvert our views on history , “Six” could be accused of presentism, the habit of judging the past in terms of today’s values, leading to anachronisms that upset historians. It seems unlikely, though, that “Six” would be hurt by this accusation — it might even take it as a compliment.

This showdown sure sounds like a counterintuitive format for a celebratory musical. But the tone it establishes is critical to the show’s success. Terrible things happened to these women, and if we really stopped to think about that we’d probably be too horrified to enjoy the music.

Third wife Jane Seymour brought the room down with an Adele-style ballad, “Heart of Stone,” professing her genuine love for Henry and grief for the son she died before she could meet. I was just beginning to feel sad when the tale of German-born Anne of Cleves took everything to a zany new level.

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