You've probably seen the TikToks. Or maybe you've just heard the literal roar of the crowd coming from Market Street. When SIX Musical San Francisco rolls into town—usually taking over the Orpheum Theatre with enough neon purple light to power a small village—it isn’t just another Broadway tour. It’s a full-blown event. Honestly, calling it a "musical" feels a bit like calling a Ferrari "just a car." It’s a 80-minute, intermission-less pop concert that manages to turn the tragic, messy, and often gruesome history of Henry VIII’s wives into a catchy battle for the spotlight.
People get weirdly obsessed with this show. I’ve seen fans show up in full Tudor-period cosplay mixed with Claire’s accessories. But why here? San Francisco has a specific kind of theater energy. We like things a little loud, a little rebellious, and definitely a little queer-coded. SIX fits that vibe perfectly. It strips away the stuffy velvet curtains of traditional musical theater and replaces them with handheld mics and a fierce all-female band known as the "Ladies in Waiting."
What Exactly is the Deal with SIX Musical San Francisco?
Basically, the premise is a singing competition. Think American Idol, but the contestants have been dead for 500 years and most of them were executed by the same guy. Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard, and Catherine Parr take turns venting about how much Henry sucked. They’re competing to see who had it the worst. The winner gets to be the lead singer of the group.
It’s meta. It’s fast. It’s loud.
The songwriting by Toby Marlow and Lucy Moss is scarily clever. They didn't just write "theatre songs"; they wrote "Queens-pired" tracks that mirror modern pop icons. You’ll hear shades of Beyoncé in Aragon’s "No Way," Lily Allen’s cheeky rebellion in Boleyn’s "Don't Lose Your Head," and Adele-level heartbreak in Seymour’s "Heart of Stone." By the time the show hits the Orpheum stage, the acoustics of that historic room—built in 1926—really struggle to contain the bass. It’s a wild contrast seeing these 16th-century characters under 21st-century strobe lights in a theater that looks like a Spanish palace.
The Orpheum Experience
If you’re heading to see SIX Musical San Francisco, you’re going to the Orpheum. It's located at 1192 Market St. Pro tip: the Civic Center BART station is right there. Don't even try to park. Just don't. The Orpheum is beautiful but tight. If you’re sitting in the balcony, you’ll feel like you’re on a cliffside, but honestly, for SIX, being higher up lets you see the incredible lighting design and the "Ladies in Waiting" band setup better.
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Why the "Queens" Matter More Than the King
We’ve spent centuries hearing about Henry VIII. The "Great Harry." The guy who broke the church because he wanted a divorce. In this show? Henry is a ghost. He never appears. He’s just the catalyst for the trauma these women are reclaiming.
The San Francisco casting usually pulls from the "Boleyn" or "Aragon" North American tours, and these performers are elite. They have to be. There is no ensemble. No chorus. Just six women on stage for the entire duration. If one person misses a beat, the whole thing ripples.
Take Katherine Howard’s song, "All You Wanna Do." On the surface, it’s a bubblegum pop track that sounds like Ariana Grande or Britney Spears. It's catchy. You want to dance. But as the song progresses, the lyrics get darker. It’s about the sexualization and grooming of a young girl by powerful men. When that song plays in a room full of people in SF, you can feel the air leave the room. It’s a heavy moment wrapped in glitter, and that’s where the show’s real genius lies. It isn’t just "history but with singing." It’s an indictment of how we treat women’s stories.
Breaking the Fourth Wall
One thing that surprises people about SIX Musical San Francisco is how much the actors talk to the audience. They aren't pretending they don't see you. They’re making eye contact. They’re joking about the local weather or the fact that you’re sitting in a dark room watching them. This "concert" style makes it incredibly accessible for people who usually hate musicals. If you can’t stand three hours of operatic warbling, this is your antidote.
The Technical Wizardry Behind the Glitter
The costumes by Gabriella Slade are literal works of art. They’re made of industrial materials—think vinyl, studs, and heavy-duty plastics—designed to look like regal armor. Each Queen has a specific color palette and silhouette that reflects her personality and her "pop inspiration."
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- Aragon (Gold): Serious, regal, fierce.
- Boleyn (Green): Playful, chaotic, edgy.
- Seymour (White): Classic, soulful, grounded.
- Cleves (Red/Silver): Confident, wealthy, unbothered.
- Howard (Pink): Youthful, vibrant, misunderstood.
- Parr (Blue): Intellectual, soulful, the "survivor."
The choreography is just as sharp. It’s highly synchronized, mimicking the tight formations of a K-pop group or a 90s girl band. In a space like the Orpheum, where the stage isn't massive, the economy of movement is impressive. Every flick of a wrist or tilt of a crown is timed to the millisecond.
Common Misconceptions About the Show
I hear this a lot: "Is it just for kids?"
No.
While the bright colors and catchy tunes draw in a younger "Queendom" (the official name for the fanbase), the lyrical content is quite mature. There are plenty of double entendres and frank discussions of execution, miscarriage, and abuse. It’s handled with a "pop" veneer, but the weight is there.
Another one: "Is it historically accurate?"
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Sort of. The broad strokes are true. Anne Boleyn did have a "neck that was thin." Jane Seymour did die shortly after giving birth to Edward VI. Anna of Cleves really did live a pretty great life in a palace after Henry decided he wasn't attracted to her. But obviously, they didn't have a group chat. The show uses "Historemix" to bridge the gap between 1530 and 2026.
Getting Tickets Without Losing Your Head
BroadwaySF manages the bookings for SIX Musical San Francisco. Because the show is relatively short and has a massive following, tickets sell out fast.
- The Digital Lottery: This is your best friend. BroadwaySF usually runs a lottery where you can snag $30-$40 tickets. You enter 48 hours in advance. It’s a gamble, but the payoff is huge.
- The Box Office: If you’re in the neighborhood, go to the Orpheum box office in person. You save on those brutal online "convenience" fees that can sometimes be $20+ per ticket.
- Rush Tickets: Occasionally, TodayTix will offer rush seats on the morning of the performance. You have to be fast. Like, "Boleyn-getting-executed" fast.
What to Do Before and After the Show
The area around the Orpheum (Mid-Market) can be a bit intense if you aren't used to San Francisco. It's gritty. But there are gems.
Villon at the Proper Hotel is a short walk away and offers a high-end vibe if you want to feel like royalty before the show. For something more casual, Sam’s Diner is a classic. After the show, since SIX ends quite early (usually before 9:30 PM because it's so short), you have plenty of time to grab a drink. Charmaine’s Rooftop Bar is the go-to for a view of the city lights, though you might need a reservation.
The Actionable Takeaway for Your Visit
If you’re planning to see SIX Musical San Francisco, don't treat it like a regular play.
- Listen to the soundtrack first. Seriously. The lyrics move so fast that if you don't know the "vibe" of the songs, you might miss some of the best puns.
- Dress up. You won't be the only one. Whether it's a subtle crown headband or a full-on neon corset, the energy of the crowd is part of the fun.
- Stay for the Megasix. At the very end, after the "final" song, the Queens will tell you to get your phones out. This is the only time filming is allowed. They do a high-energy mashup of all the hits, and it's the perfect clip for your memories.
The show concludes not with a whimper, but with a massive, bass-heavy celebration of female agency. It’s a reminder that while history books are often written by the men who "won," the stage belongs to whoever has the best story—and the best high notes.
Next Steps for Your Trip
Check the official BroadwaySF website for the most current residency dates, as SIX tends to return to San Francisco every 12 to 18 months due to popular demand. If you're traveling from out of town, look for hotels in the Union Square or SoMa districts, which offer easy access to the Market Street corridor via a 10-minute walk or a quick light-rail ride. Confirm the cast list on the day of your performance if you’re following specific "Queens," as the West End and Broadway alum often rotate through the touring productions.