Six The Musical, Teen Edition

Six the Musical, Teen Edition is a dynamic reimagining of history, told through the voices of the six wives of Henry VIII. With infectious modern pop influences and bold staging, each queen reclaims her story in a vibrant celebration of resilience, sisterhood, and individuality.

Performed by Bowden Theatre Works at the New Mills Art Theatre, this production embraced the spirit of the show with youthful energy and commitment. Upon arrival, my guest and I were warmly greeted by front-of-house staff and shown to our seats. The atmosphere was immediately set by the open stage, pre-show lighting, and a raised platform — a simple but effective design that captured the concert-style vibe of this beloved musical.

For those familiar with Six, you’ll know the cast remains on stage throughout the entire 75–90-minute show without an interval — a feat even for seasoned performers. These six young actors tackled that challenge with infectious energy and tireless focus. Their connection with one another was evident, displaying sharp awareness and strong listening skills that brought cohesion to the production.

The direction and choreography by Natalie Bowden were clearly rooted in thoughtful character work. Each gesture and movement felt purposeful, embodying the personalities of the queens while supporting the music’s rhythm and message. The choreography was slick, well-rehearsed, and in step with the tempo and tone of each number.

With a pre-recorded backing track, sound balance is always a delicate challenge. However, sound design by Stuart Bowden ensured the vocals stayed front and centre without being overpowered, maintaining clarity throughout the show. Dan Thompson’s lighting design offered effective mood shifts and vivid colours that mirrored the musical's beats, although there were moments — particularly in the downstage right corner — where performers weren’t always visible, meaning some performance details may have gone unnoticed.

Costume design, again by Natalie Bowden, showed inventiveness and originality. Due to licensing restrictions, the team couldn’t replicate the West End versions, but the costume choices still captured the essence of each queen with flair and distinctiveness. The use of bold colours and accessories complemented the characters without overshadowing the performers themselves.

Vocal delivery across the board was impressive, with harmonies that were well-rehearsed and confidently performed. Erin Burns, portraying Anna of Cleves, brought fire and humour to her cheeky solo, Get Down. Her confident stage presence and high-octane performance highlighted her control and stamina — a real standout with clear potential in musical theatre.

Jess Camilleri gave a stunning and heartfelt rendition of Heart of Stone as Jane Seymour. Her delivery was emotionally rich, balancing vulnerability with strength. Her performance offered a touching contrast to the sassier numbers, beautifully conveying Jane’s devotion to Henry and their child. Jess’s vocal control and expression of resilience left a strong impression.

Katie Fairs embodied the mischievous, outspoken Anne Boleyn with punk-pop sass and energy. Her comic timing, facial expressions, and bold gestures brought the house down. Don’t Lose Ur Head is a fast-paced, lyrically complex number, but Katie handled it with clarity and charisma, a testament to her preparation and vocal skill.

As Catherine of Aragon, Scarlett Walsh opened the show with No Way — a commanding anthem of pride and independence. She delivered the piece with powerful vocals and fierce determination, setting the bar high for the rest of the performance and instantly captivating the audience.

Mia Pearce played Katherine Howard with a brilliant mix of playfulness and poise. Her delivery of All You Wanna Do was cheeky and well-paced, showcasing her versatility and awareness of the number’s emotional layers. It’s a deceptively challenging role, but Mia handled it with both grace and impact.

Finally, Seren Jones portrayed Catherine Parr with a calm strength that grounded the entire production. Her solo, I Don’t Need Your Love, was soulful and heartfelt, and Seren’s vocal presence drew the audience into her story. Her performance exuded wisdom and confidence, closing the show with depth and sincerity.

The ensemble worked seamlessly together, each queen balancing individual flair with group harmony. One note: handheld microphones were used as performance props rather than functional tools, and while this worked stylistically, there were moments when they weren’t aligned with the vocals — something to be mindful of in future performances. Additionally, although the headset mics functioned well, accessories like earrings occasionally interfered with the sound quality.

Overall, this was an impressive, high-energy production driven by passion, precision, and personality. These six talented young performers should be incredibly proud of their work. Performing at this level for nearly 90 minutes without an interval is no small feat — and they made it look effortless.

Thank you once again for the invitation. I look forward to seeing what Bowden Theatre Works brings to the stage next!

© NODA CIO. All rights reserved.