Six - Teen Edition

The WRANGLERS THEATRE COMPANY
SIX Teen Edition
Performed at The Muse Theatre, Lipson, Plymouth
As seen by Nina Jarram, NODA SW District 3 Representative on Thursday 5 th March
2026
Directed by Wendy Holmes
Vocal Coaches: Sian Hoskin & Sydnee Ponsford
Choreographed by Claire Field & Kirstie Lee

A fantastically simple yet striking set greeted us as we entered the Kingdom of the
King’s ex-wives. Floor-to-ceiling drapes framed the stage, each announcing one of
the six names while echoing the colours of their costumes. It was an elegant visual
cue that immediately placed us within the world of Six—bold, vibrant, and
unapologetically theatrical.
The Queens made their entrance with confidence, strutting onto the stage clasping
microphones and dressed in dazzling, colour-coded outfits with matching boots. As
each took their place, focussed lighting fell upon them while they announced their
fates: divorced, beheaded, died; divorced, beheaded, survived. The opening number
stunned the audience with clever and immaculately drilled arm-ography and hip-
ography, accompanied by a powerhouse blend of vocals that immediately set the
tone for the night.
The fourth wall quickly disappeared as the Plymouth audience was warmly
welcomed and encouraged to “make some noise.” The performers were clearly
adept at working a crowd, responding instinctively to our reactions and feeding off
the atmosphere in the room. Another layer of the show’s precision was the “mic-
ography”—microphones used not just for sound but as choreographic props within
the complex staging. With demanding harmonies and tightly regimented
choreography, this well-drilled girl band never dropped their game. At times the
quality felt less like theatre and more like watching a pop concert at Wembley.
Dancing, acting, and singing simultaneously were executed at the highest level;
these women were truly talented multitaskers.
My only small criticism would be microphone technique. Although the mics formed
part of the choreography, they occasionally obscured the actors’ faces, briefly hiding
some wonderfully expressive reactions and that all-important medieval sass.
We were first introduced to a confident Catherine of Aragon, who delivered a strong
monologue and a masterclass in acting through song. Her performance was rich in
light and shade, building to a beautiful contrast as she fell to her knees in prayer at
the end of her number. It was a tongue-in-cheek retelling of her side of the story that
set the bar high for the rest of the Queens.
Next came Anne Boleyn, whose section leaned heavily into comedy. Her comic
timing was excellent, her vocals secure, and she delivered the many witty lines

referencing her infamous beheading with effortless charm. The chemistry between
all six women shone through in these moments.
Jane Seymour brought a welcome shift in tone. Her performance introduced
vulnerability to the narrative through a beautifully delivered power ballad blending
pop and musical theatre vocal styles. It was a believable portrayal, capped with an
impressive belt that resonated around the theatre.
The stage transformed for Anne of Cleves, whose number took on the energy of a
nightclub
scene with ultraviolet lighting, fluorescent ruffles, and delightfully exaggerated
German accents. Unlike the earlier solos, she commanded the stage largely alone
as the other Queens retreated to the steps behind her. Her pop-inflected vocals
suited the style perfectly, and she certainly had the moves to match.
The acting bar was raised yet again with the bold entrance of Katherine Howard.
Her performance balanced comic brilliance with emotional depth, supported by an
effortless transition from chest to head voice and a clear, controlled vocal tone.
Through expressive facial acting and confident stage presence, she drew the
audience into the darker undertones of her story about manipulative relationships.
Finally, Catherine Parr delivered a riveting monologue that commanded the stage
like a headline pop star. Her vocals were effortless, enriched by a beautiful vibrato,
and the sincerity of her delivery made the moment genuinely compelling. Although
the scene’s structure meant she did not receive immediate applause, the haunting
silence that followed spoke volumes before the ensemble returned.
Overall, the production demonstrated an excellent understanding of stagecraft.
Costumes remained immaculate, microphone transitions were flawless, and the
performers showed a clear grasp of the pop-concert genre that underpins the show.
With limited opportunities for traditional theatrical gesture, they adapted their
techniques brilliantly to maintain energy and authenticity.
Each performer felt perfectly cast for her Queen, creating a rich variety of
personalities. Even when positioned in the background alongside their three ladies-
in-waiting—an inventive addition to the staging—the Queens remained captivating
through dramatic stares and playful reactions that kept the audience engaged.
In a small cast production there is always the temptation to rank performers, but here
it felt unnecessary. Every actor owned her role and delivered a distinctive, well-
considered interpretation. In fact, I found this production even more enjoyable than
the professional version I had previously seen; the intimacy of the venue allowed the
audience to connect more deeply with the Queens and their stories.
As the contest to determine the “best” Queen drew to a close, we were treated to
spectacular harmonies and beautifully orchestrated spotlights. The result was a
stirring ensemble moment that encapsulated the spirit of the show.

So who was the best Queen in the end? Everyone in the audience undoubtedly had
their favourite—but the truth is that this performance was a masterclass in theatrical
precision across every department.
They didn’t just perform.
They slayed.
PLEASE NOTE: Any observation made by the reviewer can only be based on what he sees at the
performance in question. The reviewer may have received information in advance of the performance
and it is
inevitable that his assessment will be affected by that knowledge.
The N.O.D.A. Representative’s intention is to give an objective critique of the overall production and in
particular the performance viewed. It should be remembered that any review of this nature can only
be objective as far as the techniques used during the performance observed. Any criticisms
expressed may not have been valid at other performances, and are only made to encourage higher
standards in Amateur Theatre.
It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and
encouraged you to greater achievements in the future and that the observations made by the reviewer
will prove helpful in improving future productions.

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