Queens who “fix each other’s crowns”—‘Six the Musical’ rewrites history in Manila

As the queens each took their turn, the audience’s excitement swelled. Hannah Victoria’s swaggering Anna of Cleves had the crowd in stitches—with one man even standing up and dancing to cheers, while Lizzie Emery’s portrayal of Katherine Howard—raw and emotionally charged—momentarily stilled the theatre. Both dared everyone to sit with uncomfortable truths: one woman rejected for her physical attributes and one whose childhood was full of abuse (aka “playtime’s over”). 

But beyond the stellar performances and choreography, it was the connection between the cast and the audience that stood out most in this Manila run. Every joke landed, every heartfelt moment was met with gasps or reverence. The show was an open invitation to feel, reflect, and celebrate alongside these queens.

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That unique atmosphere was evident even before the curtain rose, as the queens took centre stage during a press conference. Sam Sewell, executive producer for GMG Productions, succinctly captured the show’s essence: “Six has brought a kind of energy into the theatre that we haven’t seen before.” As the performers shared their experiences, it was clear that this energy wasn’t confined to the stage—it was personal, emotional, and transformative.

Tresvalles, in particular, described her return to the Philippines as a deeply moving homecoming. “Performing here, in front of my family, especially my Lola, has been the most amazing experience of my life,” she shared. Her words echoed the sentiments of her fellow cast members, who spoke not just of their roles in the show, but of the deeper connections they felt with the audience and each other. Eloise Lord, portraying Catherine Parr, reflected, “This show encourages people to think about their own stories. It reminds everyone that every life is worth celebrating.”

Indeed, what makes Six resonate so deeply isn’t just its reimagining of the past—it’s the way it speaks to the present. The queens’ stories may be centuries old, but the themes—female empowerment, resilience, and reclaiming one’s narrative—are as relevant now as ever. And in the Philippines, a country with its own history of strong women, the show found an especially receptive audience.

During the press conference, the queens also shared how they drew inspiration from modern-day icons to bring their characters to life. Kerr channelled Beyoncé’s confidence as Catherine of Aragon, while Tresvalles’s Anne Boleyn borrowed from the energy of Paramore and Avril Lavigne. 

Perhaps it’s this blend of history and modernity, combined with the concert-like atmosphere, that has made Six such a hit with younger audiences. As Sewell noted, “It’s incredible to see fresh faces in the theatre, many of whom are experiencing live performance for the first time.” 

By the time Lord’s Catherine Parr brought the show to its close, the room was beaming with applause. The queens left the stage not as relics, but as the rulers of the moment. The moved and awe-filled Manila crowd became their devoted court.

As the queens wrapped up their reflections at the press conference, one sentiment stood out: “We fix each other’s crowns,” the cast quipped, a line that wasn’t just clever—it was the beating heart of the entire show. Six is about more than rewriting history; it’s about women coming together to lift each other up, both on stage and off.

In the end, Six the Musical in Manila was an experience—a shared moment of joy, reflection, and empowerment. It was a time of reckoning. And if the packed theatre and teary-eyed standing ovation were anything to go by, the queens had indeed reclaimed their throne, not just in history, but in the hearts of everyone lucky enough to be part of the moment. 

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