'Six' is an exhilarating pop history lesson at the Benedum Center

It’s like “Hamilton” but set two centuries before and British. Like Taylor Swift, sextupled and scorned by a 16th-century king. Like the Spice Girls with an extra member and possessed by the ghosts of infamous women from history.

However you look at it, “Six” is a smashing good time.

Owning the stage in this production, which runs through Sunday at the Benedum Center in Downtown Pittsburgh, are the six wives of British King Henry VIII. The monarch ruled from 1509-47, and in the course of his reign, he stacked up an impressive tally of marriages. But now those wives are taking back the microphone to tell their stories in style.

“Six” started out at the Edinburgh Festival Fringe in 2017, the brainchild of Cambridge students Toby Marlow and Lucy Moss. It stormed its way to the West End in London shortly thereafter and — just before the covid-19 pandemic began — jumped the pond over to Broadway. This production was directed by Moss and Jamie Armitage and features a dynamite cast of six ex-wives and an onstage four-piece band that rocks the house for the show’s compact 80-minute runtime.

I love a musical with a strong central concept, and “Six” is a great example. The six characters gleefully break the fourth wall, singing and speaking to the audience throughout. They’re in competition with each other to figure out — through their own individual songs — which wife suffered the most at Henry’s hand and should reign supreme as queen.

After a banger of an opening ensemble number with plenty of winky jokes and cheer-worthy dance moves, they set up those parameters and then take turns chronologically through each wife, starting with Catherine of Aragon (Emma Elizabeth Smith). Smith was full of boundless energy and pizzazz, conveying a genuine rage through her upbeat solo tune.

Next up is the infamous Anne Boleyn, perhaps the subject of the most pop culture fascination out of the sextet. Her song is a little sensual, a little coquettish and a little snarky, and Nella Cole may not have displayed the most vocal prowess of the group but her attitude was a perfect match for the Boleyn persona.

Kelly Denice Taylor as Jane Seymour took on the most ballad-like song of the night and she brought down the house with it on Tuesday’s opening night, breaking hearts and winning cheers for her powerful, long-held notes and indomitable stage presence. Seymour, seen as the only queen who was loved by Henry and who died shortly after bearing a son, has a heartbreaking tale, and it’s conveyed beautifully by Taylor.

Anna of Cleves is the ex-wife with the most girlboss-y tune, and Hailey Alexis Lewis carries it off with perfect confidence, making the divorced life sound plenty glamorous with taunts and smirks thrown in. The moody lighting and especially the costumes add to the showiness of the number.

Alizé Cruz was an absolute highlight as the fifth wife, Katherine Howard, with dry wit but an emotive speaking voice that made her song both catchy and powerful. As the tune evolves from a poppy love song to a voice-cracking breakdown upon Howard’s realization that men have only ever wanted to use her, Cruz’s emotional shift is heart-rending to witness.

Lastly, Tasia Jungbauer as Catherine Parr is the voice of reason and a steady presence among the bickering brides. She gets an R&B tune with gorgeous singing and a message that resonates with all of the wives. The lone survivor of Henry VIII made a big impression and turned the show on its head.

Because, in the end, this isn’t actually a musical about competition through trauma — it’s about realizing that these women, whose entire histories were defined by their famous husbands, were real and whole people. And they all get their moments of glory in the ensemble finale, which had Tuesday night’s audience jumping to their feet.

Even if you aren’t a huge history buff, there’s plenty about “Six” to love. It really does feel like a big, shiny pop concert, especially thanks to flashy lighting design from Tim Deiling and Carrie-Anne Ingrouille’s girl group choreography. The entire band did a terrific job from the ballads to the hyperactive, synth-filled Europop tunes.

And the costumes! “Six” won the Tony Award for best costume design in a musical and there’s a good reason. Meeting somewhere between music videos, avant-garde art pieces and period costumes, every lady looked spectacular onstage, thanks to Gabriella Slade’s design.

It is a little strange to hear these British queens speak in American accents, and some of the slangier lyrics and references will probably age the show faster than desired (there’s talk of “unfriending,” “profile pics” and liberal use of the phrase “sorry not sorry”).

It’s a great time out — and a show fit for a queen (or several of them). If Taylor Swift’s latest album left you feeling underwhelmed, I highly recommend checking out “Six” instead.

“Six” will run through Sunday at the Benedum Center in Downtown Pittsburgh, presented by the Pittsburgh Cultural Trust in their PNC Broadway in Pittsburgh series. For tickets, visit trustarts.org.