The six wives from Henry VIII seize the mic and take the stage to share their version of history, or for them, “herstory.” The queens of “SIX” prove to audiences that they are so much more than just divorced, beheaded, and dead — and certainly so much more than just one man.

“SIX The Musical” started its run in Los Angeles at the Pantages Theatre on Feb. 18, and it is simply not to be missed. It entertains every second while also serving its purpose of telling a familiar story with a twist.

Following the historic figures of the six wives of Henry VIII, “SIX” reimagines the queens as a pop girl group fighting over who should lead the band. In doing so, each of the queens shares their own history with the infamous Tudor through their respective songs, arguing they had the most to deal with from the king.

Out of the six queens, Tasia Jungbauer, taking on the role of the last woman standing, Catherine Paar, was certainly the most eye-catching performer of the show. Jungbauer carries the role with excellence, portraying her with grace and charm in her solo, “I Don’t Need Your Love,” a pivotal moment in the show when the queens realize that the competition only carries their history through the lens of Henry, and not their own

Modeled after Alicia Keys, despite starting the song in a solemn mood, Jungbauer showcases her impressive range, sending chills down the audience’s spines.

The audiences are greeted in the theater with a purple velvet curtain that teleports them into a world of regal glamour and theatrical spectacle. A noteworthy stage choice, the usage of smoke when the queens are first introduced on stage creates an impactful entrance. The significance of the entrance is immense, given that it is the first time the audience sees the Tudor queens in a contemporary setting and costumes.

The costumes cannot be overlooked in this production of “SIX.” In a minimalist production with few props and a brisk 80-minute runtime, the costumes need to be fascinating enough to captivate the audience.

The holographic foil used on the queens’ skirts allows the lighting to reflect off their costumes in a way that makes them shine and illuminate the whole stage. The blend between the historical doublets and sleeves, as well as the contemporary fabric and jewelry, allows the production to establish a fusion style that satisfies the criteria of Tudor-era queens and a modern pop group.

Anne Boleyn and Katherine Howard’s costumes are most impressive, wearing chokers to subtly reference their beheadings. This artistic choice made by Gabriella Slade, the costume designer for “SIX,” allows the audience to easily identify the two beheaded queens amongst the group and also allows a more varied look amongst the queens.

One disappointing aspect of the characters was the queens’ strong American accents. It was, at times, easy, therefore, to forget that the queens on stage were European queens speaking of English history.

Kelly Denice Taylor portrays Jane Seymour — “the only one he truly loved” — with a rich and smooth voice. Seymour is modeled after the artists Adele and Sia, and her slow ballad, “Heart of Stone,” reflects this as the song requires soaring belts, controlled vibrato, and an aching sincerity that builds gradually into a cathartic climax.

The song features no dance routines or flashy lighting equipment. Despite this, Taylor demonstrates an impressively broad vocal range and draws tears from the audience, embodying the innocent, sweet character.

Extending so much more than a clever historical mashup, “SIX The Musical” is a high-energy, visually stunning tribute to the power of female empowerment, individuality and modern storytelling.

Catch “SIX The Musical” in all its royal glory until March 8 at the Pantages Theatre.