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1981
Volume 14, Issue 3
  • ISSN: 1750-3159
  • E-ISSN: 1750-3167

Abstract

The musical has taken the United Kingdom by storm, earning five Olivier nominations in 2019 and crossing the pond, previewing on Broadway in the spring of 2020. tells the story of Henry VIII’s six wives in what the musical portrays as their own words, with a twist – the six wives form a girl group performing a concert for their audience. Through a rhetorical analysis of the musical’s script, cast recording, piano/vocal score, and field notes from two performances, I argue that creates public memory of Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine Howard and Catherine Parr, focusing on their individual personalities and accomplishments, rather than simply on their relationship to Henry VIII, as documented history describes them. I suggest that by doing so, minimizes the role of place and time in the creation of public memory. Furthermore, I argue that this creation of public memory is intertwined with Burkean identification, as theatregoers find themselves connecting with one or more of the queens as they are portrayed in . By combining twenty-first-century language with the stories of sixteenth-century women, builds consubstantiality between its characters and its audiences. This article also explores how the final number, , reinvents the women’s stories as they might have been if they had lived in the twenty-first century and the impact that this has on public memory. Finally, I suggest that is a feminist text, advocating for solidarity and the individually defined empowerment of all women.

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2020-12-01
2026-04-14

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  • Article Type: Article
Keyword(s): collective memory; feminism; identification; musical theatre; performance; public memory; rhetorical criticism; Six

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