The concept of SIX is quite fun for a musical. It is also exactly the kind of concept you would expect from a pair of theatre kids in university -which is indeed when Toby Marlow and Lucy Moss first created the show. Crossing the stories of the wives of Henry VIII with the aesthetics of girl pop and some very blunt themes on patriarchal readings of history and the notion of restoring these women’s own agency to their stories feels like the kind of idea that would originate in the context of learning academic theories of historiography and feminism for the first time and melding that with some familiar nostalgia. That’s not a knock on the show necessarily , it clearly worked -and Marlow and Moss had the talent to compose it all in a competent way and the foresight to understand the structural limitations of the idea. This likely wouldn’t work as a Hamilton -style epic, it needed to be a short and simple yet striking concert. And as a concert it is a pretty good one. SIX is the latest...
In the wake of Jurassic Park and its groundbreaking dinosaur effects, one of the popular imagined ideas for its potential sequels was to take the dinosaurs off the sequestered island and put them in a more recognizable and immediate environment. Spielberg did this briefly at the end of The Lost World where a T-Rex is unleashed on San Diego, but subsequent movies for whatever reason had no interest in going there. Then finally, 2018’s Jurassic World: Fallen Kingdom ended on the clear note of dinosaurs off the island and unleashed into civilization. However Jurassic World: Dominion came along next and tossed out that premise for the familiar very promptly. I wonder if David Robert Mitchell saw that and figured he would make his own ersatz sequel to Fallen Kingdom that did in fact take advantage of the concept of dinosaurs infiltrating our everyday lives. Because that is what The End of Oak Street feels like, a movie that really is what any of those Jurassic World films should have ...