Anne Boleyn (Interlude) Lyrics – Six
Anne Boleyn (Interlude) Lyrics
Company minus Anne Boleyn[JANE SEYMOUR]
The one you've been waiting for
[ARAGON, CLEVES, HOWARD AND PARR]
The one you've been waiting for
[KATHERINE HOWARD]
The mystery
[ANNA OF CLEVES]
The one who changed?history
[ARAGON, SEYMOUR, HOWARD AND PARR]
History
[ANNA OF CLEVES]
The?one who changed?history, mystery
[ARAGON, SEYMOUR, HOWARD AND PARR]
The temptress
[CATHERINE OF ARAGON]
The one with the?plan
The plan to steal the man
[ARAGON, SEYMOUR, CLEVES, HOWARD AND PARR]
Anne!
[CATHERINE PARR]
The one who chased the king
[JANE SEYMOUR]
But paid the price with the swordsman's swing
[ARAGON, SEYMOUR, CLEVES, HOWARD AND PARR]
Will she be the one to win?
Anne Boleyn
Anne Boleyn
Anne Boleyn
Anne Boleyn
Anne Boleyn
Anne Boleyn
Anne Boleyn
[ANNE BOLEYN, spoken]
What? Oh, sorry!
Song Overview
Song Credits
- Featured Voices: Original Six Apocrypha workshop cast
- Composers & Lyricists: Toby Marlow, Lucy Moss
- Producers (demo session): Marlow & Moss
- Release: Demo album Six: The Musical Apocrypha (2018 SoundCloud drop)
- Genre: Electro-pop musical theatre
- Instruments: Synth pads, programmed drums, electric bass, claps, choral stack
- Label: Independent / Ex-Wives Ltd.
- Track Length: 0 min 52 sec
- Language: English (with Tudor pep)
- Album Slot: Track 2 after “Ex-Wives (Reprise)”
- Copyright © 2018 Marlow & Moss
Song Meaning and Annotations
You can almost smell the fog machine before a single synth note drops. Anne Boleyn’s Introduction clocks in under a minute, yet it crackles like someone plugged Wembley Arena into the Tower of London. The song text isn’t a full story—more like a turbo-charged drumroll that crowns the green-sleeved influencer of 1533. Vocal lines volley between queens, each tossing snappy epithets: “The mystery,” “The temptress,” “The one who changed history.” It’s gossip-girl poetry recited over crunchy EDM kicks.
The structure nods to boxing-ring pageantry. Aragon flicks jabs (“plan to steal the man”), Cleves supplies hype, Howard sprinkles millennial slang, and Parr lands the “Will she be the one to win?” hook. Harmony sits on a power-chord fifth—simple, shoutable, perfect for glow-stick waving. Then—record scratch—Anne herself misses her cue, deadpanning “What? Oh, sorry!” and shredding the immaculate build-up. That comedic face-plant signals the queen’s pop-punk persona that surges in “Don’t Lose Ur Head.”
Thematically the mini-anthem foreshadows her fate. Fans hear the foreshortened cadence—no resolution—mirroring a life cut short by the swordsman’s swing. Yet the hook repeats her name seven times, carving it into memory like graffiti on a palace door. In the galaxy of Six, brand recognition is survival; Anne’s logo is loudest.
Key Lyric Snapshot
“The one who chased the king / But paid the price with the swordsman’s swing”
A five-second CliffsNotes of Tudor politics set to a club beat—history homework never sounded so pulsating.
Similar Songs
- “Royalty” – Conor Maynard & Ty Dolla $ign
A swagger anthem that also name-checks crowns and conquest. Both tracks flex historical imagery over glossy synth grooves, though Maynard’s version trades Tudor shade for modern romance bravado. - “Bad Reputation” – Joan Jett
Anne’s vibe channels Jett’s snarling refusal to behave. Toss in pop-musical harmonies and you have a head-banging history lesson. - “Cell Block Tango” – Chicago Broadway Cast
Women accused of deadly deeds share catchy confessionals. Where the tango relishes murder, Anne Boleyn’s Introduction teases scandal before the guillotine drops.
Questions and Answers
- Why does Anne interrupt her own entrance?
- Comedy timing. The script undercuts grandeur, signalling her irreverent brand before the larger solo.
- Is this piece essential to the plot?
- Yes—its hype energy bridges Catherine of Aragon’s ballad “No Way” to Anne’s up-tempo “Don’t Lose Ur Head,” keeping concert momentum alive.
- Does the number appear in the official Broadway cast album?
- No, only on the rare Apocrypha demos and certain live bootlegs; the Broadway track list segues directly without it.
- What musical style dominates the arrangement?
- An EDM-pop stomp built on four-on-the-floor kicks, layered with choral stabs reminiscent of sports-arena chants.
- Why repeat “Anne Boleyn” seven times?
- Ear-worm branding and syllabic percussion—the repetition locks the name into audience brains before her big song erupts.
Fan and Media Reactions
“Fifty-two seconds of pure hype—should be the ringtone for every history major.” – @TudorTunes, socials
“That abrupt ‘sorry!’ made my whole row snort-laugh during the West End preview.” – Grace K., theatre blogger
“This micro-track proves Marlow & Moss can cram centuries of drama into a TikTok-length bop.” – @StageByteReview
“I loop it five times to psych myself up for Zoom meetings—fight me.” – Playbill forum user ‘GreenSleevesStan’
“Seven name drops? Beyoncé would approve.” – Rodrigo M., pop critic