NME Review: Sisters are doing for themselves - SIX The Musical Teen Edition at Cardboard Playhouse

Walking into the Q-Staff Theater on a Sunday afternoon, not sure what to expect but hoping for a good show, is always a unique experience. Cardboard Playhouse’s production of SIX: The Musical – Teen Edition at The Q-Staff Theatre didn’t just meet expectations. It offered a high-energy, fully realized performance that reminded me why live community theater exists.

SIX reimagines the six wives of Henry VIII as pop icons competing in a concert-style showdown to determine who suffered the most during their marriage to the infamous king. Each queen tells her story through individual songs, reclaiming her narrative with humor, heartbreak, and power. By the end, the focus shifts from competition to unity and self-definition.

When the show opened, it was clear every detail had been considered. The costumes, makeup, lighting, and set all worked together seamlessly to create a visually cohesive world. It gave the performers a strong foundation to shine - and shine they did.

The six queens—Catherine of Aragon (Marley Clump), Anne Boleyn (Lucca Kerkmans), Jane Seymour (Genesis Mitchell), Anne of Cleves (Joanne Kumi), Catherine Howard (Katya Ivanchov), and Catherine Parr (Bea Busby) each brought their own distinct personality, strength, and presence to the stage. Each performer understood their character and leaned into it.

Marley Clump opened strong as Catherine of Aragon, delivering powerhouse vocals in “No Way.” She also showcased a comedic edge that I’d love to see her explore even more. Her performance was a grounded, commanding presence that says, “I’ve been through it, and I’m still standing.” She carried herself with confidence and control, giving the number both vocal strength and emotional weight.

Lucca Kerkmans’ Anne Boleyn leaned fully into the chaotic, social-media-savvy energy of the character, bringing humor and confidence that felt natural and engaging. There were strong Lily Allen vibes throughout—playful, cheeky, and just the right amount of rebellious. The comedic timing was great, and the performance never lost its musicality while embracing the humor.

Genesis Mitchell’s Jane Seymour was an emotional standout. “Heart of Stone,” which felt like a musical nod to Nancy Wilson and Cher, was beautifully delivered, filled with sincerity and control. There were moments where I would have liked to see her let go just a little more emotionally, elevating the performance to the next level. It was one of the more vocally intimate moments of the show, and it resonated.

Joanne Cummey as Anne of Cleves owned the stage. “Get Down” was a crowd favorite for a reason. She had command, charisma, and the kind of stage presence that draws your eye. Her undeniable energy was bold, unapologetic, and she was in control of the room. She understood the assignment and delivered it with confidence and flair.

Katya Ivanchov’s Catherine Howard had sharp comedic timing and layered it with an important narrative shift during “All You Wanna Do.” What started with Ariana Grande's pop-princess energy evolved into something much more layered and sobering. That transition is not easy, and she handled it with intention, allowing the audience to feel that shift.

Bea Busby, as Catherine Parr, delivered “I Don’t Need Your Love” with a jazzy, grounded strength that tied the story together beautifully. Soulful, reflective, and rooted in authenticity, she brought a sense of resolution that felt earned and necessary.

While the queens were the focal point, the Ladies in Waiting deserve their own applause. They were wonderful throughout the production. Their energy elevated the stage, especially during ensemble-heavy moments like “Haus of Holbein” and the finale. The only note I would offer is to extend those arm movements a bit more during the dance numbers. With just a bit more reach and full-body commitment, those movements would read bigger and stronger. Overall, their presence was impactful.

Director and choreographer Nate Clifford should be proud of this production. He did an outstanding job. The staging worked within the confines of the space, and the choreography was dynamic and engaging. It would have been nice to see headset mics used for the show, allowing for more freedom of movement, but the cast did not let it hinder their performances.

Musical directors Lena Ramos and Cheryl Sharps ensured that the vocals and harmonies were tight, powerful, and consistent. The cast was well-prepared.

Ann Pennington’s costumes were gorgeous and on-theme, particularly the black-and-white looks of the Ladies in Waiting. Crystal Montoya’s hair and makeup complemented the aesthetic. Doug Montoya’s set design and Nick Hogan’s lighting created a clean, yet visually effective stage environment.

While visually stunning and musically powerful, this show, at its core, is about reclaiming narratives and recognizing power. Something that feels incredibly relevant today. As women continue to navigate conversations around equality, respect, and voice, SIX hits differently. It challenges the idea of competition and instead leans into unity and collaboration. Reminding us there is strength in standing together.

Perhaps most importantly, this production is a testament to the next generation of performers in New Mexico. Cardboard Playhouse continues to show that with the right guidance and opportunities, young actors create performances that are entertaining and meaningful.

These shows are now sold out. If you missed this one, don’t make the same mistake of missing their next one! Visit cardboardplayhouse.org for upcoming performances and how to get involved.