As an NSTA representative, I had the great pleasure of attending the Mill Hill School production of SIX: The Musical on the evening of Tuesday 14th October 2025, at the school’s very versatile Patrick Troughton Theatre. From the moment I entered the atmospheric theatre and took my seat at one of the many small black tables surrounding the glitzy blue stage, I knew we were in for a treat. The jazzy, upbeat music that greeted us set the tone perfectly for an evening of vibrant pop-style musical theatre.
SIX: The Musical came from Cambridge University’s fine tradition of producing brilliant original musicals, making its way via the 2017 Edinburgh Fringe to the West End and then Broadway, ultimately winning two Tony Awards in 2022 for Best Original Score and Best Costume Design. It’s a fabulously fun, modern pop musical that reimagines the six wives of Henry VIII as a girl group, each taking a turn to tell her side of the story. Presented as a high-energy concert, the queens – Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard, and Catherine Parr – each deliver her tale through a powerhouse solo inspired by contemporary pop icons ranging from Nicki Minaj to Adele, blending history with modern feminist themes.
The six queens at Mill Hill were royally good. Ren dazzled as Catherine of Aragon, demonstrating remarkable ability as both actor and singer, frequently taking the lead, most notably (and effectively) in the rousing final number. Yasmine’s interpretation of Anne Boleyn as a confident, playful, and commanding figure brought a fresh energy to the stage. She embraced the role with talent and consistency, with a stage presence that held the audience’s attention each time she stepped into the spotlight. Sophie (Jane Seymour) delivered a moving monologue as the unfortunate Queen who died in childbirth producing Henry VIII’s only male heir. Taking on a character inspired musically by Adele and Sia is no mean feat, but Sophie’s solo ‘Heart of Stone’ was suitably powerful, emotionally resonant, with impressive vocal control and expression. Uzo’s performance as Anne of Cleves was both commanding and clever, confidently moving the action forward while holding the audience with her powerful vocals and engaging presence. A particularly witty moment involving sarcastic woofing drew well-deserved laughs. Olivia (Katherine Howard) gave a compelling and emotionally nuanced performance, capturing both the vulnerability and defiance of her character. Her poised stage presence paired perfectly with her classy vocal delivery to create a strong, nuanced performance. Last, but by no means least, Nepheli (Catherine Parr) delivered a confident and vocally impressive finale. Her performance brought the solos to a powerful and polished close, rounding off the story with both grace and energy. Six queens, six regal performers.
But as outstanding as each solo performance was, the production’s true magic lay in the moments when all six performers came together in unison. And isn’t that the very essence of the show? Six women, each with their own individual struggle, uniting to form a powerful collective voice. The Queens tell it successively and jointly, initially vying with each other but ultimately forming a group that showcases the greater power of women who work together for their collective benefit. At times, the show feels less like a history lesson and more like the making of a girl band around a chart-topping album – and in that regard, the ensemble truly shone brighter than any solo. This was especially evident in two of the group numbers – ‘The Haus of Holbein’ and the show-stopping ‘Six’ – but in truth, the synchronicity and collaboration between the six performers was the rich heart and soul of the show throughout. A particularly heartwarming moment came when Yasmine caught Olivia’s eye across the stage and they shared a smile that seemed to say everything – in that moment, their shared performance spoke volumes about the unifying power of theatre and teamwork. It was theatre’s magic distilled into a single glance.
The staff team, led by Mr Gatherer, have done an outstanding job with this show. Miss Caister’s costumes were sharply presented, and Ms Buckingham’s choreography moved the cast slickly around the stage. A production like this demands punchy sound and inventive lighting, and Mr Ward delivered both in abundance. It was a superbly collaborative effort from students and staff alike – all involved should be immensely proud of what they’ve created.
Marks out of five? SIX!
National School Theatre Awards
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