Megasix Lyrics – Six

Song Overview

Song Credits

• Featured Vocals: Adrianna Hicks, Andrea Macasaet, Abby Mueller, Brittney Mack, Anna Uzele & Samantha Pauly
• Composers & Lyricists: Toby Marlow & Lucy Moss
• Producers: Joe Beighton, Lucy Moss, Paul Gatehouse, Sam Featherstone, Toby Marlow, Tom Curran
• Music Director & Keyboards: Julia Schade
• Band: Kimi Hayes (guitar), Michelle Osbourne (bass), Elena Bonomo (drums), Mariana Ramirez (percussion)
• Recorded Live: Brooks Atkinson Theatre, New York City
• Release Date: May 6, 2022
• Genre: Electro-pop Broadway encore
• Length: 3 min 03 sec (live cut)
• Label: Broadway Records
• Language: English with on-the-spot ad-libs
• Album: SIX: LIVE ON OPENING NIGHT (Original Broadway Cast Recording) – Track 16
• Copyright © 2022 Ex-Wives Ltd.

Song Meaning and Annotations

Picture a confetti cannon married to a history podcast and you’re halfway to The MegaSIX. It’s the encore mash-up that Broadway audiences film on shaky phones before the ushers can say “mind the copyright.” Musically, the track crash-lands seven earlier numbers into one turbo medley: Aragon belts “No Way,” Boleyn fires “Sorry Not Sorry,” Seymour floats “Heart of Stone,” and so on until the queens unite in that immortal roll call—“Divorced! Beheaded! Survived!”

The arrangement is pure cardio. Joe Beighton’s band slaloms through key changes, dropping four-on-the-floor kicks, trap hi-hats, and a cheeky reggae skank under Cleves’s verse. Harmonic transitions happen at video-game warp speed, yet each queen’s signature riff lands with arena clarity. It’s less a reprisal and more a royal remix—think “Hamilton Mixtape” crammed into a TikTok but staged with Buckingham Palace lasers.

Live, the Broadway cast treats it like a victory lap. Adrianna Hicks (Aragon) whips the crowd into a pop-gospel holler, Samantha Pauly (Howard) flirts with the front row, and Anna Uzele (Parr) levitates the key change while 1,000 phone screens glow like jewel-encrusted torches. The result? A three-minute feminist rave that steam-cleans 500 years of patriarchal footnotes.

Hook Moments

“You must think that I’m crazy / You wanna replace me?” ? “N-n-n-n-no way!”

A stadium chant disguised as Tudor tea-spilling. Try not yelling along—go on, try.

“We don’t need your love / ‘Cause we’re so much more than—”

The band slams the brakes, the queens hammer their mics forward, and 1,200 people finish the sentence at once. Instant goosebumps.

Spoken roll call: “Divorced! Beheaded! Died! … Survived!”

Six syllables, six centuries, zero chill.

Annotations

“New York City! Do you wanna hear one more song?” — bespoke geography.
Every company recharts the top of MegaSIX. At the Brooks-Atkinson the question contains “New York City,” in Chicago it was “Chi-Town,” on tour the name of whatever city the truck has parked in that night, and in London the line often becomes “West End!” The ad-lib anchors the concert vibe: instead of a remote Tudor history lesson the Queens remind the crowd this is a gig, being played right here, right now.

“Get your phones out…” ? “…everybody clap your hands!”
In the original UK, Australian and cruise-line productions Anna of Cleves literally invites the audience to record the finale. Equity’s Broadway rulebook, however, forbids unauthorised video inside a union house. Moss, Marlow & the Broadway stage managers solved the puzzle by changing the cue: Cleves now shouts “Everybody clap your hands!” and the spectators become a live drum machine instead of rogue cinematographers.

“Dance!” — fourth-wall demolition complete.
Six markets itself as “part Tudor pop concert, part musical.” The producers use the MegaSIX to cash that promise. During the eighty-minutes leading up to it the house staff ejects anyone filming; for these two minutes the ushers step back and the Queens actively encourage standing, shouting, and choreographic chaos. Fans trade TikToks spliced together from every city, turning each company’s variant into a collectible remix.

“Make some noise for Maggie/Bessie/Joan/Señorita María!”
The onstage four-piece band are christened after genuine Tudor ladies-in-waiting. The roll-call is more than historical Easter-egg: each instrumentalist was given her name on day one of rehearsals as a reminder that they are eighth queen-like storytellers, exhuming overlooked women from the footnotes.

• Maggie = Lady Margaret Lee, attendant to Anne Boleyn.
• Bessie = Elizabeth “Bessie” Blount, briefly in Anne of Cleves’s household after being Henry’s mistress.
• Joan = Jane/Joan Meutas, companion to Jane Seymour.
• Señorita María = María de Salinas, closest friend to Catherine of Aragon.

Why all the interruptions?
MegaSIX is a rapid-fire collage: each queen hijacks another’s hook, mirroring the historical overlap of Henry’s courtships. Boleyn shouts “no-no-no way” across Aragon’s riff; Seymour’s breathy “… ah-ah-ah-ah-ah” crumbles under Boleyn’s taunts; Howard’s “All You Wanna Do” is spliced with Cleves’s “Get Down,” the lyric literally bumping into itself on the word “do/too.” The six-way counterpoint sonically enacts the King’s serial polygamy: one wife can hardly finish a sentence before the next is in the frame.

Cleves v. Howard—an intentional cross-fade.
Historically Henry was wooing Katherine Howard while still technically married to Anna of Cleves. In the mash-up Cleves cuts Howard off—“I don’t agree!”—to underline that theirs was the only marriage that remained un-consummated. The Queens in rehearsal call this section “the divorce-versus-beheaded slam.”

“Make way… now hands up, let me see you… Queen!”
Katherine Howard’s command is usually delivered with a mock Beyoncé hair whip or a Freddie Mercury fist-pump. Some actresses point to the band, some to the audience, others at themselves. Either read is valid: it is both a tongue-in-cheek nod to the rock group Queen and the meta-mission of Six—to crown the Tudor wives as pop royalty in their own right.

“I don’t need your love…” — the franchise thesis boiled to one line.
Catherine Parr’s final refrain is the show’s manifesto: six historical relegations (divorced, beheaded, etc.) rejecting the king’s narrative altogether. In the MegaSIX staging the Queens break their rigid timeline formation for the first time all evening and line up shoulder-to-shoulder out of chronological order. Visual grammar: hierarchy erased, agency restored.

“[City-Name], here we go!”
Just before the final six-part cutoff Aragon drops a last database-driven shout-out. During the U.K. tour audiences collected bootlegs to hear “Glasgow!” “Manchester!” “Edinburgh!” On Broadway Equity rules forbid the bootlegs, but the Queens still tailor the shout so every crowd leaves with its own bespoke tag—proof it wasn’t just history, it happened tonight.

Similar Songs

1. “Megasix” – Original West End Cast
   The London blueprint: grittier synths, different vocal inflections, same adrenaline. Comparing the two feels like streaming a remix in Dolby Atmos after spinning the MP3.
2. “One Day More” – Les Misérables 10th-Anniversary Concert
   Another end-of-show avalanche where multiple themes collide. Swap barricades for bedazzled bodices and you have a Tudor-pop cousin.
3. “You Can’t Stop the Beat” – Hairspray Broadway Cast
   Both finales turn historical commentary into infectious dance floor liberation—civil rights via sixties pop versus divorced queens via EDM.

Questions and Answers

What exactly is a “MegaSIX”?

A high-speed encore medley performed after curtain call, stitching together the musical’s greatest hooks for fans (and their phone cameras).

Why isn’t it on the studio concept album?

The 2018 studio recording predates the encore tradition; it was added during live performances and finally captured on the Broadway opening-night album.

Are lyrics altered for the mix?

Mostly intact, but verses are trimmed and keys shifted to keep momentum sprinting.

How do musicians keep up with those key jumps?

Click-track cues and muscle memory—plus a pit band with Olympic-level reflexes.

Can audiences film the MegaSIX?

Officially yes; the team encourages filming during this encore only, fueling social-media hype.

Fan and Media Reactions

“Three minutes that justify my entire phone storage plan.” – @HistoriPop, TikTok

“Imagine the Spice Girls wrote a dissertation on Tudor divorce law—same energy.” – Nina C., blog comment

“The bass drop under ‘Heart of Stone’ rattled my Playbill straight off my lap.” – @OrchestraRowJ

“I’m a choir teacher and my sopranos beg to warm up with this every morning.” – Ms. Reynolds, educator forum

“Finally, a history exam review you can dance to.” – Diego L., theatre critic