Since its humble beginnings at the Edinburgh Fringe Festival in 2017, Six has taken the theatre world by storm. The touring production of this musical is back in St. Paul to delight once more with a tongue-in-cheek look at Tudor history. If ticket prices or sales are any indication, audiences are as enthusiastic as ever.

For the uninitiated, Six might best be described as historical fanfiction in the form of a pop concert style stage musical. The titular six are the wives of King Henry the VIII: Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard, and Catherine Parr. After acknowledging the inherent challenge of being queen alongside one of history's most infamous monarchs, the six queens declare a competition to determine which had the hardest life. In turn, each performs her own song to narrate the unhappy circumstances of her marriage to Henry. The songs move in chronological order from Catherine of Aragon, who married Henry in 1509, through Catherine Parr, the only wife to survive to his death in 1547.

The competition progresses energetically as it moves the audience through history. Even so, by the time the final queen is set to perform, the queen's efforts to outdo one another's suffering are souring into an unpalatable race to the bottom. Fortunately, Parr acknowledges this, and in a hilariously (and deliberately) awkward pause in the action, each queen starts to go her own way. Only at this point does the show's true intention fully emerge. In the final number ("Six"), the queens have chosen to reclaim - and rewrite - history into a narrative that celebrates them rather than relegating them to their royal husband's shadow.

The music, book and lyrics were written by Toby Marlow and Lucy Moss, and they work together seamlessly to deliver the story. In carrying out their competition, each queen performs her own number with inspiration from a unique combination of today's most applauded popular singers. Kristina Leopold brings a strong voice to the role of Catherine of Aragon. She delivers the Beyoncé-inspired "No Way" with apt authority. The number emphasizes the heady power of royalty even as it criticizes Henry, and Leopold portrays a very queenly demeanor indeed.

In the reviewed performance, Anne Boleyn was portrayed by alternate Aryn Bohannon. Bohannon performed Boleyn's signature number, "Don't Lose Ur Head," with a wit and faux innocence perfectly suited to the song. In fact, alternate or not, her performance was a standout in the show. The third queen, Jane Seymour, stands out both in demeanor and for the slower, ballad style "Heart of Stone." Kelly Denice Taylor impresses with the sincerity of her acting in the lead up to and delivery of the song, making it almost impossible not to feel for "the only one he truly loved." At one point, another queen pokes fun at Jane's dancing; the joke hits a little too close to the mark. Perhaps Taylor carries Jane's more reserved nature deliberately into the ensemble choreography.

Danielle Mendoza has no such dilemma in the bass-heavy "Get Down," which narrates the story of Anna of Cleves. Her performance shines as the veneer of sob story dissolves to reveal a life of relative female independence in the Tudor era. When the other queens dismiss her as having lost the competition with a story that "doesn't sound hard at all," her sarcastic disappointment hints at the show's resolution. On the other end of the thematic spectrum, Katherine Howard easily wins the suffering olympics in Alizé Cruz's rendition of "All You Wanna Do." She brings a naive excitement to early experiences of romance that the audience knows are problematic at best. Although the number's music is upbeat until the end, Howard's enthusiasm gradually shifts into weary resignation to her own abuse, portrayed by Cruz with heartbreaking believability. Cruz also excels in her delivery of many of the script's slyest comedic lines.

Adriana Scalice portrays an undefeated and self-possessed Catherine Parr, able to acknowledge her own suffering without succumbing to it. Overall, each queen is well-suited to her role and worthy of applause, and they form an excellent whole. In fact, the ensemble numbers–"Ex-Wives," "Haus of Holbein," and "Six"–stand out as punchy crowd pleasers.

One noteworthy aspect of Six is the onstage band, which is always made up of four female musicians. The current group comprises Jane Cardona (keyboard), Janetta Goines (bass), Rose Laguana (guitars), and Kami Lujan (drums). All are excellent. The original costumes, designed by Gabriella Slade, remain clever in combining historical references with modern glitz and nods to each queen's musical inspiration. Emma Bailey's barebones set serves its purpose, jazzed up with excellent lighting design by Tim Deiling. The direction effectively presents a fun production, with no noticeable creative shifts from past tours.

While it's tempting to describe Six as a show about history, it is far more effective as a commentary on historical discourse than as a history lesson. Before the lights went down at the performance I attended, the audience was greeted by several members of St. Paul's city council, the first all-female city council in the city's history. This modern example of both how far gender equality has come, and how long it took us to get here, serves as a powerful reminder of why Six resonates with so many theatregoers. If you have seen Six before, rest assured that it remains a royally fun girl-power evening. If you're seeing it for the first time, be prepared for an energetic and witty musical extravaganza. For repeat fans and newcomers alike, the show's feminist message and high-energy musical numbers promise a memorable experience.

Six runs through July 28, 2024, at Ordway Center for the Performing Arts, 345 Washington Street, Saint Paul MN. For tickets and information, please call 651-224-4222 or visit www.ordway.org. For information on the tour, visit sixonbroadway.com.

Words, Music and Book: Toby Marlow and Lucy Moss; Directors: Lucy Moss and Jamie Armitage; Choreographer: Carrie-Anne Ingrouille; Scenic Design: Emma Bailey; Costume Design: Gabriella Slade; Lighting Design: Tim Deiling; Sound Design: Paul Gatehouse; Orchestrations: Tom Curran; Music Supervision: Joe Beighton and Roberta Duchak; Music Director: Jane Cardona; Associate Conductor: Kelsi Fulton; Associate Choreographer: Eliza Ohman; Casting: Tara Rubin Casting, Peter Van Dam, CSA; Production Management: Bryan Lynch; Production Stage Manager: Sara Gammage.

Cast: Alizé Cruz (Katherine Howard), Kristina Leopold (Catherine of Aragon), Danielle Mendoza (Anna of Cleves), Adriana Scalice (Catherine Parr), Cassie Silva (Anne Boleyn), Kelly Denice Taylor (Jane Seymour), Alternates: Aryn Bohannon, Wesley Carpenter, Taylor Sage Evans, Carlina Parker, Amaya White.