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July 12, 2018 / basabbott

A return to Tower Hill and a single for the wife.


Norwich Playhouse

Divorced, beheaded, died, divorced, beheaded, survived.
That sexist giant Henry VIII and his wives still fascinate, so it was probably time for a feminist view.
Six is a musical, by Toby Marlow and Lucy Moss, with a girl band. It is basically a pop concert, a kind of Tudors Got Talent.
The costumes are rock sci-fi, the language is colloquial (“And I’m like – Okay”), the rhymes sometimes excruciating (“Vatican/that again”) but witty and knowledgeable.
The six wives are onstage throughout and sing as though their lives depended on it, so to speak.
Jarneia Richard-Noel (Catherine of Aragon) is as formidable as Serena Williams. Millie O’Connell gives a quirky, face-pulling Anne Boleyn; and Natalie Paris a homelier Jane Seymour.
Alexia McIntosh (Anna of Cleves) is not the ‘Flanders mare’ described by Henry, but more like Lena Horne. Aimie Atkinson’s slender, pony-tailed Katherine Howard is equally watchable.
Maiya Quansah-Breed (Catherine Parr), making her professional debut, is the quietest onstage personality. But she draws the eye; and, when she begins to sing and move, things happen.
Edinburgh, Cambridge and Norwich have lauded the show; and London will no doubt do the same.

Basil Abbott

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