The crowd-pleasing encore engagement of Six roars into the National Theater giving DC the party we knew we needed but didn’t have an invite to! This Tony-winning musical “histo-remix” — staged as a singing competition — has it all: spectacular choreography, eye-popping costumes, exceptional music and sound, stand-out scenic and lighting design. As well as six sensational performers who are sexy, sassy, sharp, and sure. Moreover, the show’s no-holds-barred reclaiming of the narrative we all learned about the wives of Tudor King Henry VIII is a resonant message of female empowerment that elevates Six from a mere pop concert entertainment romp through history, or herstory, though highly entertaining it is. Hands down, it’s a veritable explosion of exuberance and a rollicking good time! The North American Tour Boleyn Company of ‘Six.’ Photo by Joan Marcus. The “Six” of course are Queens Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard, and Catherine Parr. They open the performance by announcing their fates in sequence — “Divorced. Beheaded. Died. Divorced. Beheaded. Survived.” From the first “Hello DC” to the curtain call when we were on our feet whooping and stomping approval, the phenomenally talented and diverse cast portraying these diva queens held the audience in the palms of their hands as they set the record straight about who they really were and how they ended up. To begin, the queens tell the audience that whomever it decides fared the worst as Henry VIII wife gets to lead the band, who are naturally the Ladies in Waiting. Then each sings her story of doom, each attempting to outwoe her rivals. They are more than ably served by a powerhouse book, music, and lyrics by Toby Marlow and Lucy Moss. First up is Catherine of Aragon (Chani Maisonet). The program lists her queenspirations as Beyonce and Shakira. Maisonet’s rendition of “No Way” establishes the show’s defiant attitude. When she sings that there’s no way and she won’t back down, it’s an anthem, a rallying cry directed to Henry as much as to Anne Boleyn, one of Catherine’s ladies in waiting. I dare you to stop singing the chorus. Boleyn (Gaby Albo) takes center stage next with “Don’t Lose Ur Head.” Throughout the show, Albo provides a playful counterpart to her true grim storyline of beheading by continually reminding the other ex-wives that she lost her head. In a serious/not-serious vein, she asks, “What was I meant to do?” when they are disbelieving how she became wife number two. Next in line is Jane Seymour (Kelly Denice Taylor). The program lists her queenspiration as Adele and Sia, and indeed her aching delivery on “Heart of Stone” hits the mark. She empties her heart and soul into the song. She makes you feel what she is feeling. Wife number four is Anna of Cleves, also known as Anne of Cleeves. Danielle Mendoza owns the role and the audience with her turn. She flirts with the audience in “Get Down,” coyly singing the refrain, “I’m the queen of the castle,” while channeling queenspirations Nicki Minaj and Rihanna, stripping down to a bodysuit, and gyrating suggestively. In fact, one audience member was so stirred that he rose from his seat and danced along for a bit. Who could blame him? Katherine Howard (Alizé Cruz) was cutting and sarcastic, mocking the other ex-wives before launching into “All You Wanna Do,” a song in the style of Brittany Spears or Ariana Grande. Ironically, her display of self-assured sexuality sells her song of double entendres about the men in her life only wanting her body. Finally there’s Katherine Parr (Tasia Jungbauer), who rounds out the group with “I Don’t Need Your Love” à la Alicia Keyes. She emerges as a voice urging common sisterhood that takes the show to new heights and sets up a satisfying finale to the dueling suffering. The North American Tour Boleyn Company of ‘Six.’ Photo by Joan Marcus. It’s easy to simply enjoy the catchy songs that sample rap, electronica, ballads, pop, hip hop, punk, and a blending of genres. They are uniformly party-ready. I danced in my seat. (I wasn’t alone.) But my real pleasure was found in the witty lyrics and the wordplay that modernized historical references in each queen’s story. Hearing contemporary phraseology like unfriending, profile pictures, and sorry/not-sorry does more than update and translate outdated speech for the modern ear. It demonstrates relevancy to today and the importance of claiming one’s narrative and speaking it, or risking it being told for you. Speaking of the songs, I’d be remiss if I didn’t call out the exceptional sound design by Paul Gatehouse and orchestration by Tom Curran. Additionally, I applaud the musical versatility and rockin’ playing by the band aka The Ladies in Waiting. Take a bow, Lizzie Webb, music director/keyboard; Emily Davies, bass; Rose Laguana, guitars; and Camilla Mennitte Pereyra, drums. The production is also exceptional for other design elements. Gabriella Slade’s costumes perfectly outfitted each ex-wife specific to her story and attitude and enhanced the story each told about themselves. While each of them had a rock star look, each rhinestone, bustier, jacket, miniskirt, or over-the-knee boots sold that queen’s story. Each costume detail amplified it, such as the chokers worn by the beheaded queens. I also loved the hip holsters where the queens stashed their microphones. Practical genius. Carrie-Anne Ingrouille’s choreography is masterful as well. The routines are amazing. Indeed, the choreography surely accounts for the global juggernaut that is Six. Since its debut, Six has become a phenomenal must-see around the world. Hats off to Toby Marlow and Lucy Moss for this inspirational creation capturing a genie in a bottle. All credit is due. Everybody should see this touring production. Its message of empowerment is one we can all use. And don’t we all deserve a dose of joy right now? Running Time: 80 minutes with no intermission. The North American tour of Six plays through December 1, 2024, at the National Theatre, 1321 Pennsylvania Ave NW, Washington. Tickets ($100–$199) are available online, at the box office, or by calling (202) 628-6161. Enter the Digital Lottery for a chance to purchase $29 tickets. Learn more here. The cast and creative credits for the touring production are here. COVID Safety: Masks are strongly recommended but not required for all ticket holders. For full COVID protocol, go here. SEE ALSO: ‘Six’ diva queens are front and center at the National Theatre (review by Lisa Traiger, July 18, 2022)