Six The Musical Teen Edition

Upon my arrival I was warmly greeted, as always, by the front‑of‑house officials whose friendliness set a positive tone for the afternoon. Entering the auditorium, I was delighted to see a purposeful and well‑constructed set built specifically for this production. Sean Kennedy and Allan Jordan deserve real praise here, their set‑making skills were genuinely impressive. Although Six is typically performed on a minimalist stage, this version incorporated thoughtful touches that gave the queens a dynamic performance space without distracting from the concert‑style format of the show.

The opening number burst into life with the six queens standing beneath their distinct coloured spotlights, lit brilliantly by Neil Hampson. The lighting design was crisp, bold, and theatrical exactly what Six needs. The young cast launched into the opening harmonies with confidence and energy. It’s worth noting that in Six, the queens remain on stage for the entire show, meaning vocal control and stamina are essential. These performers handled that challenge admirably, maintaining strong projection and clear diction throughout.

The first solo belonged to Catherine of Aragon, played by Aria Eastwood. Aria stepped into the role with a commanding presence, immediately establishing Aragon’s regal confidence. Her tone was warm and rich, and she navigated the rhythmic vocal lines with assurance. I would encourage Aria to take a deeper intake of breath before those higher notes; there were moments where she reached the top of her range with slightly less control than she’s capable of. But her stage command, poise, and characterisation were excellent. She carried herself like a queen who knows her worth, and the audience responded to her strength. Anne Boleyn, played by Maddie Hall, is known for her cheeky, rebellious personality and playful sarcasm. Maddie brought some lovely characterisation to the role. Although she appeared slightly nervous at first, she grew in confidence as the number progressed, and by the midpoint she was clearly enjoying herself. Her comedic timing improved with each line, and she handled the fast‑paced lyrics well. I would have liked to see a touch more sass, Boleyn thrives on mischief, but that will come naturally as Maddie continues to trust her instincts. She controlled her nerves admirably and showed the audience exactly how capable she is.

Jane Seymour, played by Caity McErleans, is the emotional heart of the show. Her solo requires sincerity, vulnerability, and vocal control, and Caity delivered all three. Her tone was lovely, soft where needed, strong when the emotion peaked. I did feel she may have started slightly too high in her vocal placement, which made some of the later sustained notes more challenging. However, her characterisation was beautifully sincere. She portrayed Jane not as a passive figure, but as someone deeply reflective and emotionally grounded. Caity has a natural ability to connect with the audience, and her performance was touching. Anna of Cleves, played by Cleo Wilson, is known for her confidence, independence, and unapologetic attitude. Cleo brought great characterisation to the role, leaning into Cleves’ self‑assured nature. Her vocal control was strong, and she handled the rhythmic, almost rap‑like sections with clarity. I would have liked to see even more attitude, Cleves is a queen who knows she’s living her best life but Cleo’s performance was still engaging and enjoyable. Her stage presence grew as the number progressed, and she clearly had fun with the role.

Katherine Howard, played by Aoife Tierney, is one of the most complex queens to portray. Her number requires a balance of charm, vulnerability, and emotional depth. Aoife had excellent stage presence and delivered her vocals with lovely intonation. She captured Howard’s youthful energy while also hinting at the darker undertones of her story. Her transitions between flirtatious confidence and emotional fragility were handled with care. Aoife’s performance showed maturity and understanding of the character’s journey. Catherine Parr, played by Molly Hutchinson, closes the solo section with a number that demands vocal strength, clarity, and emotional intelligence. Molly delivered all three. Her projection was excellent, her tone controlled, and her characterisation thoughtful. Parr is the queen who brings the group together, and Molly embodied that leadership quality with grace. She maintained vocal control throughout the more demanding sections and demonstrated a strong understanding of the message behind Parr’s story.

Throughout the production, the ensemble energy was consistently high. The choreography, by Jennie Kennedy, always a key part of Six was executed with enthusiasm and precision. The queens moved with confidence, maintaining synchronisation while also allowing their individual personalities to shine. The group numbers were vibrant and full of life, and the cast handled the quick transitions between harmonies, spoken lines, and movement with impressive professionalism for a teen edition.

Vocally, the cast worked well together. Their harmonies blended nicely, and they supported one another during the more challenging sections. The musical backing was well balanced, never overpowering the singers, and the sound levels were managed effectively.

The costumes were colourful, creative, and clearly inspired by the iconic Six designs. Each queen’s outfit reflected her personality, helping the audience instantly recognise their individual identities. The attention to detail in the styling added to the overall visual impact of the show.

Overall, this was a solid and spirited production of Six: Teen Edition, filled with energy, enthusiasm, and genuine talent. The cast delivered strong vocals, engaging characterisation, and confident choreography. The technical team supported them with excellent lighting, thoughtful staging, and a clear understanding of the show’s concert‑style aesthetic. With a bit more confidence, breath control, and character depth, this young cast has the potential to deliver performances even more powerful than what we saw this afternoon. But as it stands, they should be incredibly proud of what they achieved.

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