Before SIX: The Musical Hits Broadway, It's Playing at Sea
Just last week, SIX: The Musical—a new show, about the six wives of Henry VIII, that's seen wild success in the UK—announced it's officially coming to Broadway. Yes, it really is time for a pop-infused musical that delivers the skinny on the women whose fates read bluntly as: divorced, beheaded, died, divorced, beheaded, survived.
But before previews start February 13, 2020, SIX is continuing its out-of-town tryouts with a surprising twist: It will play aboard several Norwegian Cruise Line ships, beginning with the Norwegian Bliss September 1.
It's an unexpected licensing move for musical theater, since shows at sea are usually a cruise line's own creations, or surefire hits, like Jersey Boys, that are already proven crowd-pleasers on the Great White Way.
While it may be unprecedented to snag a show before its Broadway debut, NCL's move further solidifies that the cruise industry is betting big on dance. Earlier this year, two major cruise lines announced new entertainment offerings for guests: Celebrity Cruises partnered with American Ballet Theatre, and Virgin Voyages is developing work by the likes of Randy Weiner and Sam Pinkleton. Perhaps SIX is NCL's answer to Celebrity and Virgin upping the ante.
And it might be just the right move.
SIX has exploded as the little show that could: After being dreamed up by two Cambridge University seniors, Toby Marlow and Lucy Moss, the musical premiered at the Edinburgh Fringe Festival in 2017 and swiftly made its way to the West End the following year. It earned five Olivier nominations, including Best Musical and Best Choreography, by Carrie-Anne Ingrouille. And it's already appeared in Chicago, and starting August 21, it will sweep through Cambridge, Massachusetts (at American Repertory Theater); Edmonton, Canada; St. Paul, Minnesota; and Sydney, Australia, before it arrives on Broadway.
Seems like these queens are aiming for world domination at land and sea alike.
Her Dying Swan was as fragile as her Juliet was rebellious; her Odile, scheming, her Swanilda, insouciant. Her Belle was joyous, and her Carmen, both brooding and full-blooded. But there was one role in particular that prompted dance critic Arnold Haskell to ask, "How do you interpret Giselle when you are Giselle?"
At eight, Alicia Alonso took her first ballet class on a stage in her native Cuba, wearing street clothes. Fifteen years later, put in for an ailing Alicia Markova in a performance of Giselle at New York's Metropolitan Opera House, she staked her claim to that title role.
Alonso received recognition throughout the world for her flawless technique and her ability to become one with the characters she danced, even after she became nearly blind. After a career in New York, she and her then husband Fernando Alonso established the Cuban National Ballet and the Cuban National Ballet School, both of which grew into major international dance powerhouses and beloved institutions in their home country. On October 17, the company announced that, after leading the company for a remarkable 71 years, Alonso died from cardiovascular disease at the age of 98.
William Forsythe is bringing his multi-faceted genius to New York City in stripped down form. His "Quiet Evening of Dance," a mix of new and recycled work now at The Shed until October 25, is co-commissioned with Sadler's Wells in London (and a slew of European presenters).
As always, Forsythe's choreography is a layered experience, both kinetic and intellectual. This North American premiere prompted many thoughts, which I whittled down to seven.
"Law & Order: SVU" has dominated the crime show genre for 21 seasons with its famous "ripped from the headlines" strategy of taking plot inspiration from real-life crimes.
So viewers would be forgiven for assuming that the new storyline following the son of Mariska Hargitay's character into dance class originated in the news cycle. After all, the mainstream media widely covered the reaction to Lara Spencer's faux pas on "Good Morning America" in August, when she made fun of Prince George for taking ballet class.
But it turns out
, the storyline was actually the idea of the 9-year-old actor, Ryan Buggle, who plays Hargitay's son. And he came up with it before Spencer ever giggled at the word ballet.