"Listen up, let me tell you a story — a story that you think you've heard before..." You might be familiar with King Henry VIII and his six wives from history class and various film and TV renditions (Showtime's The Tudors, Natalie Portman's The Other Boleyn Girl, PBS miniseries Wolf Hall) but Broadway's latest glitter-bomb musical Six brings the queens to life in a whole new way — live "in consort." (Get it?) Created by then-Cambridge University undergraduates Toby Marlow and Lucy Moss (who directs the Broadway production along with Jamie Armitage), Six initially premiered in 2017 at the Edinburgh Fringe Festival. There, it caught the attention of producers and went on to launch productions in the U.K. and abroad, as well as a cast album, all amassing a royal court of devoted fans. A Broadway coronation was to be next, but the musical's original opening night — March 12, 2020 — was the very same day theaters were forced to close their doors due to the coronavirus pandemic. Now, more than a year and a half later, the queens are finally ascending to the Broadway stage, replete with sparkly costumes, vocal runs that defy the laws of physics, and synchronized choreography tighter than a 16th-century corset. Structured as a concert-turned-singing competition, Six sees Catherine of Aragon (Adrianna Hicks), Anne Boleyn (Andrea Macasaet), Jane Seymour (Abby Mueller), Anna of Cleves (Brittney Mack), Katherine Howard (Samantha Pauly), and Catherine Parr (Anna Uzele) take turns sharing their sides of the story. There are no Henry sightings here; the ex-wives are fed up with being reduced to "just one word in a stupid rhyme" (You know the one: "Divorced, beheaded, died, divorced, beheaded, survived"). So they've formed a women-tell-all girl group, and want the audience to help determine who should be crowned lead singer based on who has the most tragic backstory — a move borrowed from every televised singing competition ever. Featuring an all-female cast and equally rocking band (the "ladies in waiting"), the musical's 80-minute runtime is bursting with cheeky wordplay and radio-worthy bops and ballads. Those songs run the pop genre gamut, with each of the six drawing inspiration from modern-day music stars: Catherine of Aragon is a mix of Beyoncé and Shakira, Anne Boleyn channels Lily Allen and Avril Lavigne, Jane Seymour evokes Adele and Sia, Anna of Cleves is the German lovechild of Rihanna and Nicki Minaj, Katherine Howard turns out a blend of Britney Spears and Ariana Grande (complete with a high ponytail), and Catherine Parr is an Alicia Keys-Emeli Sandé mash-up.