‘Six’ at Bass Performance Hall tells the dazzling stories of Henry VIII’s wives

If only Henry could see his wives now.

He might not be so happy about what they have to say — or sing — but it seems most everyone else wants to hear their stories from the current versions of his exes as portrayed in the musical “Six.”

The show features the legendary king’s half a dozen wives sharing their tales of time spent with arguably the most fickle playboy ruler of all time in a modern-day concert-style performance — a girl band, if you will.

In addition to the six actresses playing the wives, the accompanying band is all female. It’s a night filled with splashy music and dance, a couple of moving moments and, of course, a bit of history, er, herstory.

The filled house at Bass Performance Hall on the show’s opening night, Feb. 10, is indicative of the show’s popularity in today’s society for which it was intended to blossom — and does. It will continue its run through Feb. 15 as the latest in Performing Arts Fort Worth’s Broadway at the Bass Series Presented by PNC Bank.

While not exactly revisionist, “Six” certainly looks back through a different lens. It’s more than a glimpse of each wife’s dynamics should they be alive today, instead of their actual time in history.

They might have been held back in the 16th century, but 500 years later there’s no stopping them.

And it’s all presented with music that pops and choreography that sizzles. It is indeed more of a concert than a musical. Hence the run time of 80 minutes with no intermission.

Also, much like Taylor Swift, Beyonce or other musical stars, the performers interact with the audience throughout. In fact, one audience member on the front row got up and danced in impressive synchrony with the performers on stage, prompting a smile, nod and point of approval from one of the wives.

The goal of the evening is to be crowned Champion Queen at the close of the show. Even as the audience is being entertained, they are also judges — and suffice to say, the competition is close as each wife brings their own unique and dazzling performance.

Imagine Sabrina Carpenter squaring off against Cher in a musical battle. All the while they’re sharing the same message of female empowerment.

The show begins with the ensemble piece “Ex Wives.” We are told the ultimate fate of each before they break off into their own songs with further descriptions following the declaration that everyone get ready to “party really, really old school.”

The wives, their time married and how their relationship with Henry ended are:

• Catherine of Aragon (played by Emma Elizabeth Smith), married 1509-33, divorced.
• Anne Boleyn (Reese Cameron), 1533-36, beheaded.
• Jane Seymour (Kelly Denice Taylor), died less than two weeks after childbirth, giving Henry a male heir (King Edward VI). Rumored to be his favorite wife, which is, of course, addressed comically in the show.
• Anne of Cleves (Hailey Alexis Lewis), 1540, divorced. They actually remained friends.
• Katherine Howard (Aliz’e Cruz), 1540-42, beheaded. Ironically, a cousin of Boleyn.
• Catherine Parr (Tasia Jungbauer), 1543-47, survived Henry. However, in even more irony, she then married Thomas Seymour, Jane’s brother.

“Peyton Place” (Google it, kids) had nothing on the life of royals during those days.

Boleyn and Howard even share one of the show’s more comical moments when they reflect on their “special” connection to Henry — with Boleyn, of course, reminding us numerous times throughout the show that she was ultimately disconnected from her head. Her song “Don’t Lose Ur Head” gives a jovial twist to decapitation like one probably never imagined before, at least I certainly hope not.

Ultimately, the wives ask themselves the question: Who was the wife of Henry VII? Henry VI?

Of course, none knew. But Henry, well, his romantic history will forever live in lore.

They openly wonder if it is only because they were married to him that they also became famous?

Granted, that might be how their collective story started. But in this show, Henry is no longer around — and even if he were, he’d do well just getting out of their way. They create their own moments of greatness, standing taller and casting an even bigger shadow of their own.

In a moment of realization and independence, Parr leads the number “I Don’t Need Your Love.”

But the message of “Six” isn’t just for feminists. It’s for anyone who has felt their voice hasn’t been heard, with encouragement that there is no time like now to change that.

It’s also a message of unity. Together, voices are stronger.

And, in this case, they also sound mighty good. Maybe Henry should have listened to them more when he could.

“Six” the Musical runs through Feb. 15 at Bass Performance Hall, 525 Commerce St., Fort Worth. Tickets: basshall.com.