Modern musical theater productions are making their way to the big screen as pro shots, the name given to professionally shot live-stage productions filmed in front of a live audience that aim to convey the original live theatrical experience with the original cast members. The latest to be pres ented in theaters this week is SIX: The Musical Live! Written by Lucy Moss and Toby Marlow while at university together, the musical became a hit in Edinburgh and then London back in 2017 before it made its way to Broadway and across the rest of the world. The stories of the six wives of King Henry VIII of England reimagined as a pop group live in concert offers viewers a new perspective on old historical facts. In the process, these six women offer a new perspective on every woman’s right to rewrite her own history, ultimately emboldening and supporting each other – and all women – as well. On Thursday afternoon I made my way to Cinemark North Haven for the first screening of this film with minimal knowledge of the original musical. The theater filled about halfway with attendees seated in twos and threes. (Don’t cry for me, New Haven. The truth is I adore attending a film solo.) The festivities began with a mini-documentary called SIX: The Royal Reunion, which gave the viewer nine minutes of behind-the-scenes insight into the origins of the musical as well as the 2025 reunion concert at Hampton Court Palace for one last show with the original cast. The energy of the performers and performances was highlighted as well as the sisterhood that developed between all of them as the show went from being performed in front of a handful of people to being perpetually sold out and then a worldwide sensation. This brief yet enthusiastic glimpse into the phenomenon of SIX aptly set the tone for the film ahead. What do you know about Henry the VIII besides the fact that he had six wives? I know that English Reformation happened during his time, but I can’t say I knew much more than that except for him being featured in that catchy song by Herman’s Hermits (which definitively shows my age). Within a few minutes of this show it is clear that one does not have to know anything at all about old Henry because the show’s focus is on the women. His six wives appear as a pop music group that could be described as Spice Girls-esque. Backed by their “Ladies in Waiting” – i.e. a four-piece band made up of all women – they begin with a song that describes the six of them as “divorced, beheaded, died, divorced, beheaded, survived.” Thus the “Divorced Beheaded Live Tour” begins with a contest based on their announcement that everyone wants to know who the most important wife was. They decide that the queen who was dealt the worst hand will be the one to lead the band. Those six wives were (and are in this show) as follows: Catherine of Aragon (played by Jarneia Richard-Noal), Anne Boleyn (played by Millie O’Connell), Jane Seymour (played by Natalie Paris), Anna of Cleves (played by Alexia McIntosh), Katherine Howard (played by Aimie Atkinson), and Cathrine Parr (played by Maiya Quansah-Breed). The beauty of the show lies in the beauty conveyed by these performers and their performances: their charisma, their connections with the audience and each other, and the songs that tell their story. Each one of them offers a distinct take on their queen, yet each one of them also becomes a significant piece in the complete picture of a woman who in the eyes of the rest of the world is only considered important in relation to the man in her life. By the end of the show, and in the most fun and fiery way, the viewer is made to appreciate each one of them as they are on their own as much as each one of them comes to appreciate themselves. As someone who has never seen the musical itself live, I cannot attest to how this filmed version compares. But as someone who has now seen multiple proshots – most recently the version of Hadestown that spent an extended run in theaters this past July – I can attest that this film explicitly captures the concert like vibe of the performances, delivering memorable after memorable song. Whether it is Anna of Cleeves soulful and sexy rendition of “Get Down” which emphasizes how fortunate she was to live in the palace with a lavish lifestyle while the king is nowhere to be found or Jane Seymour’s ballad-like rendition of “Heart of Stone” which conveys how much she truly loved Henry even though his love may have only been earned by her producing a male heir. There are a lot of laughs too, many from Anne Boleyn who takes every opportunity to remind the others that she in fact lost her head, but is then remind by Katherine Howard that she in fact lost her head as well. The competitive nature of it all becomes a focal point towards the end as Catherine Parr questions why it is even necessary. This idea of not needing validation based on their roles in a man’s life ultimately becomes the catalyst to all of them rewriting history as “herstory” which leads them to create their own “happy endings.” This powerful message, delivered via their six exquisite voices and dynamic energy, is what sticks with the viewer. The perfomances may not be live in person, but they will live on within long after the show is over. SIX: The Musical Live! is now playing at Cinemark Theaters for a limited time. Check their website for showtimes and details. The post “SIX” Queens Grace The Big Screen appeared first on New Haven Independent. ...read more read less