Listen up! Lemme tell you a story! A story that I know you’ve heard before— I know you know their names and their fame and their faces…you might have even seen them here three years when they toured Baltimore’s Hippodrome theatre in May of ’23…that’s right— the infamous…the wives of that one guy— SIX! Back in Baltimore, baby, and they are here to rewrite HISstory and make it flourish as HERstory. And you’re in for one sensational theatrical ride that will have you bouncing to bring down the house right along with the patriarchy. Directed by Lucy Moss & Jamie Armitage, with Musical Direction by Valerie Maze (The Leader of the Ladies In Waiting live, on-stage band!) and Choreography by Carrie-Anne Ingrouille, this stunning theatrical explosion of feminism, girl-power, and reclaiming history is going to rock, pop, and roll its way through Charm City with such fabulous force you’ll be bouncing for weeks long after it leaves.

It’s a Pop-Rock concert for the ages with this immaculately crafted aesthetic that just sends you into retro-futuristic history— think a PBS special but with so much more high-octane intensity and a Spice Girls’ concert but with so much more modernity. Scenic Designer Emma Bailey, Lighting Designer Tim Deiling, and Sound Designer Paul Gatehouse are bringing you sensational vibes in the show’s overall appearance. Tim Deiling’s light show is spectacular, totally unhinged with thumping concert vibes, particularly during “Haus of Holbein” where the lights pulsate in UV-glow like you’re at an underground rave. But for as much intensity as Deiling brings to those bombastic moments of party-like-it’s-1499 there is a stillness in his work too and when those moments of gently focused spotlight and darkness come into play, it creates a sublime balance. Emma Bailey’s set is a replica of any amazing concert venue stage you’ve ever encountered, only with more ‘QUEENS THAT SLAY’ vibage that infiltrates the overall curvaceous design. Platforms to elevate the band, slight recessed areas for Deiling’s lights to do even more magic; it’s an epic aesthetic approach to augment these phenomenal six performers blasting out their best life for 90 minutes on stage.

You’d think generally that costumes would be included in praises about the show’s aesthetic. But Gabriella Slade’s costume design is so outstandingly amazing that it deserves its own special section of recognition. Boots that are covered in glittery, radiant bling with some chunk-wedge heels that could stomp the patriarchy in a single blow— not to mention those thigh-high masterpieces seen on Anne of Cleves— each one studded with reflective crystals and shimmers more radiant than the next. And each Queen gets a signature color and style in Slade’s sartorial selection. The most impressive, by far, is the breakaway cover-over for Anne of Cleves who gets not one but TWO marvelous masterpieces of costuming, both of which are epic and stunning in her signature shade of ‘bring-the-house-down-red.’ You get influences of Tudor-style threaded into the concert couture and much like the Queens who don these glorious outfits, they SLAY.

There may have only been six wives but there’s FOUR Ladies in Waiting who comprise the on-stage house band (At this performance Musical Director and Keyboardist Valerie Maze, Bassist Sarah Klein, Guitarist Rose Laguana, Drummer Camila Mennitte Pereyra) and they are dropping beats that will rock your world. And their outfits (callback shoutout to Gabriella Slade) are insanely inspirational, covered in reflective studs and just complete the show’s overall aesthetic. Maze leads the four-person, all-female band and they literally rock from start to finish, engaging with the Queens and keeping a flawless tempo from the downbeat. It’s extraordinary to get to see them rocking out, hearing their sick beats roll and flow and develop as the show progresses.

Carrie-Anne Ingrouille’s choreography is just mind-blowing. There’s a style, a movement collective, a verve for each musical number that just fits flawlessly to both the tune and the message of each song. “All You Wanna Do” has a series of progressively repetitive moves that increase with their aggressive tendency, echoing the repetitive nature of the unfortunate history of wrong guys that befalls Katherine Howard. “Don’t Lose Ur Head” has doll-cute shuffles with bad-ass bop-moves that just burst with that vivacious energy required of that number, and “Haus of Holbein” is it’s own special brand of choreographic fire. Ingrouille’s sensational choreography becomes its own entity and your eyes will be glued to each of the wild routines featured in nearly every song.

Divorced…beheaded…died…divorced…beheaded…survived… you’ve heard it before. You’ll hear it again…these six Queens are ferociously alive, living their best lives, sharing stories and histories but also bringing the heat! With exquisite doses of heart mingled in amongst the catty comedy, these six— Christina Jones, Brittany Smithson, Melina Savannah Cruz, Shelby Griwold, Thabitha Moruthane, Nina Ann Nelson— are a stupendous sextet of raw intensity, superb talent, total triple-threatness, with so much fever, passion, dedication, and desire to give— it’s epic. And they juxtapose the vicious competitive sassiness against the heart-melting genuine camaraderie of sisterhood divinely; it’s such an extraordinary balance of polar opposites and ties everything together perfectly for this passion-driven, pop-powered musical explosion of a history-rewrite show.

Always first, Catherine of Aragon (Christina Jones) is, as the song states— a paragon both of royalty and spitfire spirit. There is a zesty sunbeam style energy that just radiates through every step of Jones’ performance, particularly when she’s doing the spoken intro of her character’s journey. So often does the ‘acting/storytelling’ component of these women get overlooked for their remarkable musical and choreographic skills that one forgets they’re here to TELL THEIR STORIES. Jones is telling it, she’s got balance in her comedic timing and delivery and she has sass that sizzles. And her vocals— like all six of the Queens— have riffs to ruffle your ruffs! Possessed of a calm confidence, Jones delivers fiery dragon fierceness during “No Way” and it sends you to a place of pride without question.

If Angelica Pickles, of Rugrats infamy, grew up and mingled her way into being half-Glinda, half-Baby Spice, and a whole lot of sex appeal and attitude, you’d get Brittany Smithson’s Anne Boleyn. There’s this indefatigably blistering freneticism about her portrayal that has her bopping and bouncing and bombastically bubbling from one side of the stage to another. And she really gets creative with some of her vocal sounds and affectations during “Don’t Lose Ur Head.” Watching her catfight with the other Queens is the living theatrical equivalent of a vodka-soaked sour patch kid dipped in Everclear and copper-powder before being lit on fire and bursting into a dazzling electric green flame that will consume you in one powerful blast of insane intensity. “Lose Ur Head” may be her signature song, which she achieves with fantastical success and then some, but it’s especially wild to watch her bite back in that snarky comedic vein with some of the other queens before and after their numbers. Most intensely unyielding energy amongst the six, no question.

There’s this adorable awkward nerdiness that infiltrates Melina Savannah Cruz’ portrayal of Jane Seymour and it’s just super cute. You immediately get that ‘lights on; nobody’s home’ vibe from her character introduction but don’t let that fool you; Cruz vocals are stellar, particularly when she’s riffing and opting up, down, all around during “Heart of Stone” as if her vocalization and Broadway-grade belt could literally blow the roof off of The Hippodrome. There’s a sincerity that is more palpable and forward in her presentation of Jane; all six of the Queens feel real, she wears her heartfelt authenticity right at the front of her queen’s existence.

Bringing the house down and serving up so much sassy face it’s seriously one of the highlights of the performance, Shelby Griswold as Anna of Cleves is extraordinary. Girl’s got some alt-timing that’s just a hint off of what you’d expect from any cast or live recording when it comes to “Get Down” and it is LIT. There’s just something vivacious as hell about the way she times out the rap-patter moments in that song that showcase her ability to take that song and truly make it her own. Her dancing is on point, particularly when she’s throwing shade and shots with her facial expressions whilst doing backup choreography (all Queens do backing movement and/or vocals for the other Queens when they’re having their feature.) Griswold is a terrific trifecta of belt-blasting vocals, effortless dance moves, and an attitude that really earns laughs galore from the audience when she plays up the ‘melodrama’ of her particular queen’s plight.

If you want scandalous sex appeal for miles, move over naughty Anne Boleyn, because Kate Howard is here and the fun’s begun! Thabitha Moruthane, as the fifth but also youngest of the wives, tackles Katherine Howard with such gusto you’re pulled to the edge of your seat for “All You Wanna Do.” What makes Moruthane’s performance that much more edgy is the grim and unsavory nature which creeps insidiously into that song and by the end, when she hits that final section with that last gasp— it busts your heart wide open. Moruthane’s belting capabilities are sensational and she slays in her own way, even if she’s the most ‘catty’ when it comes to calling out the other Queens.

Bringing a calm that’s unexpected, Nina Ann Nelson’s Catherine Parr is more than just the survivor, the final wife. She’s the balancing point. The show takes a turn by the time Nelson’s Parr is officially introduced and it’s her pivotal acting that spins the trajectory and brings the Queens into the rebooted home-stretch. And she’s sensational. Of course her riffs are fire, her opts are intense, and her overall vocal prowess is powerful and beautiful. “I Don’t Need Your Love” is being remodeled and remolded in Parr’s talented hands, quickly becoming a fan favorite at this performance.

And of course when all six are blasting out their talents together in big group numbers together like “Ex-Wives”, “Six”, and the epic-bonus-curtain-call “MEGASIX” they are truly one unit of magnificence that come together for a literal theatrical knockout performance. Don’t miss this extraordinary musical opportunity— visiting Baltimore until the first of November!

Running Time: Approximately 75 minutes with no intermission

Six plays through November 1^st 2026 at The Hippodrome Theatre inside The France-Merrick Performing Arts Center— 12 N. Eutaw Street in Baltimore’s Bromo Arts District. Tickets are available by calling the box office at 410-837-7400 or purchasing them in advance online.

*Photos featured in this review are from a previous iteration of the casting configuration of The National Tour of Six. New Production photos featuring the current touring line-up are to be taken IN BALTIMORE but will not be ready for release until after the tour leaves on November 1st 2026.