In the wake of Six the Musical it would appear that & Juliet has been pipped at the post for the poppiest show ever inspired by the 16th century.
. Surely, adaptations don’t get poppier than Juliet waking up next to Romeo’s corpse and singing Britney Spears’Only a cast of genuine triple threats could pull Six off, and they succeed with exuberance.– a musical romp that reincarnates the six wives of Henry VIII as pop divas – I’d have to sayIt’s sort of a history lesson wrapped in a live concert.
The six wives arrive onstage with the oomph of a girl band in front of a home crowd. They’re each bedecked in magnificent, glitteringly anachronistic faux-period costume, as if Gabriella Slade had waved some Elizabethan wand over a popstar’s wardrobe. They’ve gathered, as they always do, to compete over who’s the most tragic queen. And it’s hilarious to watch the six queen bees at this pity party sass each other, or lob brutal,-style put-downs around, before bursting into catchy original songs across a range of pop styles.
There’s everything from Beyonce-like R&B, with backup vocals and sharp dance moves, to tonsil-baring power ballads. One number even rescores Greensleeves into a turbo-folk anthem.Lyrics and dialogue adopt the register of performative youth.
Vengerov made so light of any technical challenges, so unostentatiously, that one could doubt they were there. But they certainly were – for example, ferocious and flawless double stopping, wondrously pure and accurate harmonics, thrilling bravura runs, delicate dynamics, effortless projection and ravishing pianissimos that floated out to fill the hall.
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