The 'Six' Wives: An Interview with Lucy Moss and Toby Marlow of 'Six'

And that's accounting for the COVID shutdown that hit on what was supposed to be their opening night on Broadway. The musical Six is staged almost like a pop concert, in which the six wives of Henry the Eighth, Catherine of Aragon and Boleyn, Jane Seymour, Katherine Howard and Catherine Parr, don many skirts, bustier's heels and boots, and belt out individual solos inspired by divas like Beyonce and Nicki Minaj.

It's a loose interpretation of history. After all, the queens in real life might have had lovely singing voices, but I doubt that they could belt or dance like the actors on Broadway and the West End. But the historical spirit of each of the numbers is accurate their subjective but valid interpretations of the histories of the Doomed Queens

that center their agency and their own experiences. The show is especially exciting to me because I think that any time conversations about Tutor history take the mainstream spotlight, it gets people excited about delving into the actual history. After all, people are able to enjoy infectiously catchy songs while at the same time understanding that the real Anne of Cleave's

never wore fish nets. I am so excited to be able to sit down virtually with the shows two co writers, Toby Marlowe and Lucy Moss, and talk about history, theater and the way we talk about history in the public discourse.

The show came about when we were in our third year of UNI and the university's Musical Theater Society wants to take an original musical to the Adamburgh Fringe Festival, and I like applied to do that with like not an idea for a show, with a kind of criteria for the show that I thought would get me the gig of writing it and not lose the society money, which is basically having a show that had famous subject matter people would you know, looking to get topics. That's

something I recognize. Something that had pop music because it's the best one, something that played around with the form, and so like that the songs came about like an interesting way or like a natural way as supposed to, like breaking into song because that kind of relienate people

from musical sometimes. And also something that had a majority of lee all all female cast, because you know, there were lots of conversations happening at the time amongst our friendship group and in the media as well and in our degrees about like you know, representation, particularly you know, of women in musical theater and the kind of songs that they get and the kind of roles that they get, and how often like the meaty, funny, charismatic parts are

usually for boys, and so you know, I thought would be a good opportunity to redress that and give our amazing talented friends some fun songs. Anyway, they gave me the gig and they were like, okay, come up with an idea, and then I was like, okay, what's a famous group of women. It was six wis n The eighth was the first one that came to mind, and then it was okay, what's like a way of fitting that into an Hour at the Fringe with pop music in a way that the song was come about in

an interesting way. And then that's where the popcorn's idea came from. And then the second I came up with that AC called Lucy and I was like, I've got this wacky idea for a musical. Do you want to write it with me? And he was like, yeah, okay, it sounds a bit crap. But what were your experiences or knowledge base when it came to the Six Wives of Henry the Eighth before you began writing. I'm sure in the UK you probably learn a little bit more

about it in school than we do in America. Yeah, as you say, in the UK, it's the kind of thing that you, at various points in your school career will be kind of taught about Henry the Eighth and the Six Wives, and everyone will know divorce Head and died divorce Heads five and kind of knows about an

Berlyn being aheaded. So it's sort of like a big, like cultural moment, but it's also something that I feel like you kind of learn about when you're like six, and then again when you're sort of eleven, and then at some other point, and then you forget all about it by the time you're growing up, so you can only remember the kind of like the key elements of it. And then whenever someone does go oh yeah, and then it's of like there was like a breaking away from

the Catholic Church. I was like, Oh, yes, it's sort of stuff that people kind of like remember on some level, but it's not kind of like, you know, right at the forefront for everybody. Lots of people are Massi Touda fans, but especially for myself, I didn't really know like loads about them as individuals, or I couldn't really remember exactly

what their significance was. However, at the time, I was studying history, and I was actually looking a lot at early modern German visual culture, so kind of all the hands holdbines stuff that's in this show was kind of what I was focusing on my degree, and also kind of feminist revisionist history of that period, so I was quite familiar with the Reformation and the kind of like cultural background and the sort of historical background of that time,

and especially in terms of the sort of like scholarship that was happening at the time of writing in regard to that period, but it wasn't really anything to do with British history and the queens for me. You know, each of the queens in the musical I have such a distinct personality and their song is such a distinct style. Which was hardest for you to write and which was easiest?

Which came most naturally? Oh, that's a good question. With some of them, they were like parts of it that were really easy to write, them parts of it really hard.

And I feel like maybe the song get Down answers both of those things, because the verses that came up like the quickest that we've have written something, and it was so fun and enjoy what we knew exactly what the vibe was going to be, like brainstorming these stupid puns and lyrics and rhymes, and then it all came out really really quickly because we knew it was going to be her like bragging about her riches. Get Down.

If you haven't listened to the musical yet, which you absolutely should because it's available for streaming, and go see it if you're anywhere near New York. Is the song that Anne of Cleave's sings set post her divorce from Henry, bragging about her life as a single woman. Yeah yeah, and the verses of her being like I want to go hunting, you know, eating pheasants, sipping on meal at all these things and that kind of stuff was like

fun and came up really quickly. But then the choruses took us literally forever because we were like just massively overthinking that. Okay, we know, we know this message of like Henry's rejected her and like painted her into a corner, but now he's like you thought of the faded flower, but I went packed when the rose. But it was just taking forever. And then Lucy was revising like the library and you like like Toby Toby, You said like Trickture profile picture, and I was like, there we go.

That's it literally cracked it like a goddamn it. And then from that it just came up with the thing do you have any favorite songs? I know it might be like picking the children, but do you have like a favorite deep in your heart? I think I have like favorites for different reasons. I feel like as a number and a piece of storytelling, as a whole when

you see the show. Katherine Howard's song All You Want to Do is my favorite in terms of the synthesis of all the departments, and also it feels like the place where the concept of it being a pop concert

and they're being stories told through pop songs. It feels like where that comes to fruition most because it sort of uses the repetitive structure of a pop song to kind of like mirror this sort of like cycle of abuse and change, a perspective that Katherine Howard has through her life, and it also choreographically uses the visual storytelling of something like a sort of Britney Spears concert choreographically

to them kind of tell this story. So it feels that that's sort of the best place where storytelling and the kind of concept of being a pop show kind of come together. But then in terms of like story, I think Get Downs one of my face because it's like a really positive narrative someone who got to sort of just like succeed and it's really fun to sort of be like, oh, you've heard about this woman as

somebody who had a really bad time. Actually the narrative is all to do with her relationship to Henry, and when you take Henry kind of out of it, he actually wasn't as relevant to her life as maybe she was to You get to see a really positive narrative be told on stage, but then musically it's like, I don't need your love is you know when we were writing it and you kind of feel like, oh, I was the same voicem of this thing. I was like, oh, this is my favorite song, so it's gonna be my

favorite song brother. So yeah, I want to talk a little bit more about the Katherine Howard song that you mentioned All You Want to Do, which is so brilliant and I think recasts Katherine Howard, who sometimes dismissed even by historians, just to sort of this frivolous girl who flirted and maybe deserved the fate of beheading that she got. But I think it was so powerful the way that you recognize and reckon with the way that she was sexualized at the time, but also the way we sexualized

Britney Spears as a sixteen year old. Was it always your intention or reinterpretation to approach the subject matter that way or were you surprised the more you delve into the actual history, like when you were learning about the history. Were their aspects of her life that you were surprised to learn about. I don't know, definitely aspects of all of their lives that we were surprised, especially because we

didn't know Trabals beforehand. But I have to say, I think that the idea of like redressing a historical wrong, or redressing an imbalance, or giving back the microphone to people who have been kept out of the spotlight for so long or whatever, that was kind of at the center of the show, and the idea of the show before we even decided, before the Six Wives was even the thing, before it even was about them, it was kind of this thing, as Toby says, we were sort

of being like, you know, Toby applied with this criteria, being like, I want to do a group of like women kind of like taking the center of the stage.

Because we were talking so much about marginalization of women's voices at the time, and similarly both of our degrees that everything we were writing about was this kind of how to like redress who has been like written out history and what we think of as important narratives or not just history whose voices we haven't been listening to, so I think that honestly, probably we like came to the subject of it with that intention, without actually having

engaged with what the preconceptions were, if that makes sense. Were there any moments where you sort of purposefully recognized like, Okay, this may not be quite historically accurate, but we're going to make this t week to serve the musical as a whole. Or did he try to stick to incredible

historical accuracy throughout? I think with amberleyn as a person with whom that's most resonates, because a lot of the way we interupted the queens are sort of Okay, this is how they've been seen and how can we subvert that? And the kind of conversation around an Bleyn is there's just so much hysteria around her, particularly from male historians and people writing narratives about hand. But it's just like the noise and mythology around her is all to do

with her. It's just so inextricable from gendered kind of terms of her being this kind of like which the ductress so kind of yeah kind of and it's like sort of basically we're like looking at that hysterian we were like, what would be kind of like a funny way to subvert that and kind of like laugh at the intense speculation of her life. And we we were like, well, maybe she doesn't mean to be kind of calculating, but

everyone's reading that into her behavior. And that was similarly a thing where like something like that happened to me at the time, where someone accused me of being really niftib so I wish I was that smart, like no idea, just living my life at thing. But then like historically, like when you actually read about her, you know she probably was really cunning. So im like call it charismatics. I call it kind of small and like politically aware.

Other who might call it sort of beguiling, like whatever you want to you know, however you want to frame it. So there's a kind of like thing where we're like, oh, we sort of took one of the most like empowered, small like women's history and sort of made her the spot. He's like, oh, I don't know what I'm doing or what that may be. Is a place where we kind of like prioritize the historiographic discourse as opposed to the

actual historical truth that might have been. I mean, whatever that means and just for listeners, the Anne Boland song, the repeated choruses sorry not sorry, what was I meant to do? Just this story of like a girl coming over from France to England and just living her life. And you know, I think those two ideas can coexist. I like the idea that a musical can bring the

conversation about Tudor history to the mainstream. People can sing along to catchy songs and then think like, Okay, well, if I want to learn more about the actual history, I can do more than listen to a three and a half minutes on I can like go read a history book. I know that COVID unfortunately put a slight

damper on your original Broadway plans. Can you speak as to what that experience was like, Yeah, gosh, it was a long time ago now, Yeah, March March unsurprisingly where we were over here in New York to open the show on Broadway. Yeah, and then it was kind of in the weeks leading up to it, where like COVID was becoming the more persistent news story and people were talking about it and more and acting differently about it.

And I think we're looking back on it. I think I was just putting it to the back of my mind and oh, it's a thing that will like pass because I was so like tunnel vision about this Broadway open we had. And then in a few days before I just wasn't like the day before we meant to open, and that was a news story that came out about an usher who had been working at some theaters, including the Six Theaters, who DESI positive for COVID. I was like, wait,

it's in New York. It's hell, what's going on? Like it's it's like all my doorstet andy, do I have it? What's going on? And then that was the twenty four hours of like, are we're gonna open the show? We're not going to the showt what's going to we have the powers and not like like like well and there's like all these things, and then we were just told to like about our day as if we were going

to open. Meanwhile, like all the producers and all the people were having like a hundred meetings all the different Broadway leagues and mayors and various things. And then about like an hour and a half before we were meant to go to the red carpet, we found out that New York was shutting down that afternoon, and all the theaters were going dark and we weren'tna have our opening night. And then I was a bit like, okay, well, that's good to know that we don't have to make that

decision that's been made for us. What means this OVID thing is very serious? How can I get back home as soon as possible? How can I get my grandparents home, who have like flown out to New York. Yeah, it all became a bit into logistical mode of getting back home in case I was going to be, you know, some kind of international lockdown, a global pandemic or anything. So, Lucy, is it true that you were in a car hearing about it on the radio as it happened. It's absolutely true.

I was. Yeah, I was in a cab going to get my hair done, and Governor Cuomo came on the radio saying and then this was about like two o'clock, one o'clock or something, saying, from tomorrow at five pm, all meetings of five people are going to be closed down. I was like, okay, so we're going ahead. Then it was like except for Broadway, which will shot from five pm tonight. I was like, okay, and I actually got out of the cab and then I was like, oh, I guess I don't need to get my head done

got back into another cabin, but oh my god. I think also people maybe don't understand, like what was the process like going from Edinburgh Fringe to Broadway, which spoiler alert you did eventually open. What were sort of the steps involved, you know, for people who don't really know how theater works behind the scenes. Yeah, I mean it

kind of happened. We had it as a student production at the ed of a fringe festival, and like gradually throughout that month, various theatery people from London and from parts of the country. We're like coming to see the show and then getting us like business cards and being like, let's have coffee and talk about your shop. They were all from nineteen twenties New York. No yet with fact that even in London everyone that works in theater as a producer has that accent and it always has a

cigar in their mouth. It's it's a it's a weird kind of like cultural facing but um, and then we kind of were like, Okay, we're going to wait till after the fringe because this is almost scary, and because we weren't in the same place, and so we're just like, let's wait untilward we're back. And then a producer called Kenny Wax ended up coming to see the show when we did a home run back at Cambridge and then he was like, come to my office next week for

a meeting. And then he was like, I'm doing a West End show over Christmas and there's a few Mondays where the show isn't on. I'd like to do like a showcase of your show. And we were like okay, and then he kind of joined forces with some other producers that we've met, and yeah, so then we did the showcases in this West End theater and that was kind of like the biggest jump was going from doing a student show at the Fringe to then a few months later doing this like showcase production at a west

End theater, got paid, were being paid to do it. Yeah, it was like it was bizarre. And that's the kind of like the major leap that happened, I guess because that went well and as well received. The producers were like,

let's make a good album. We're gonna make a We're gonna make an album and it's gonna be huge, and then so we like we did that, and then that kind of was also us preparing to do a first professional UK tour, and then that ended up going to London for a bit and then it was well received there, so then it went back to London and kind of set up shopping a theater there called the Arts Theater, and then from there and then went to America and

started the Chicago production. Then also a UK tour happened, and then then it went out into cruises, then I went out into Australia, and then all kind of gradually led to Broadway shut down. Because as quickly as it as it came about I mentioned a little earlier, both of my sisters are in Chicago. I'm in Los Angeles. They know that I love, you know, particularly British and French royal history, and they both saw it without me,

and I've never been more heartbreak. And because I had been listening to the album for weeks at that point and has already obsessed with the show, I'm curious did you make any changes or did people ask you to make any changes for American audiences. So people were like, you know, obviously the question about the form was like people going to get it? Are they're gonna like it? Like what's going on? Like it's the British story. Do

people know anything about it? But kind of, as I said before, like we didn't really know anything about the wives or we couldn't really remember what we what we had previously known to. The whole show is kind of written to sort of tell you what your quote unquote is supposed to already know, but then also and then kind of engage with it. So that was kind of one thing where we're like, okay, like it does actually

give people the information that they need. And the other thing was when we kind of turned up here, it basically became clear that although you know, the history is dish, the like former pop concerts as sort of as American as can be and actually you know in the UK has to be like how are you doing tonight? And everyone's like yeah, and it's like come on, we said how you know, they're like okay, I'm allowed to be stuff. Where I was here, it's like the lights go down.

It's like so we're like, okay, they don't need to help with that. But in terms of like rewrite, it was mostly just tiny little things like colloquialisms saying friends instead of Nate. And there's a sort of reference to gcs is, which are exams in English that we changed to sort of a reference to PBS. You know, there's things like that that kind of like small cultural things. But I think it's more surprising probably how little has

to change than like what does have to change. I'm curious structurally because the show is structured where every queen gets her own song, her own sort of moment in the spatlight to rewrite her own history. And then you have one song where you discuss and explain hands Tolby and the painter going around and painting the princesses of Europe to present the portraits to Henry the What was the decision like to break form for I mean, that song is a blast, It's one of my favorite songs

in the show. But what was the decision like to say, Okay, we're going to have these six songs and also the seventh star Because when we were originally planning it, like the first ideas from our first meeting was, oh, yeah, we should have like hands Hold and being a character and you can have his own like fashion house and he can be just like camp of german Man. Wouldn't

that be so fun? Let's drop that down. And then when we were kind of like in the early stages of planning, they were going to be like transitional songs kind of in between their solos, kind of like you might have a pop concert where like there's like an outfit change or going from different sets or whatever, and there's like transitional moments and some more like group numbers and maybe like some multi rolling some other characters or

maybe they're like backing vocalists who other various children and they have a number that like being kids. I don't know, but like we didn't write that one sounds so good. And then we kind of realized that in terms of like you know, the time of the show and what we had to do a couple of group numbers to bookend the show and then like each having a solo was kind of like what we've had time for. But then it was coming apparently in rehearsals that there was

a gap, something extra was needed. Yeah, Well, we kind of always wanted there to be a group number in the middle, like after the three to sort of break up that like monotony of the of the structure. And we've also had this kind of like transitional song ideas whole mine that we've really held onto from the beginning. So whilst we sort of shared those transitional moments, we were like, oh, gold, we need to write a group number.

Why don't we have it hands hold by one? And then oh, and then why don't we make it like a statement about like beauty standards and la la la okay that we'll do like bash it out right half an hour off for do this song and it's still in this our broadway with the rehearsals and just being like called like brands was like inches and kind of thing, and then now it's being performed and broad which is so hilarious. I love also the costume choices. I think

the costumes are so distinct. They have not two period details, but they feel so modern. What was that conversation like developing the costumes, just super fun conversation with Gabby Slade are amazing designer, just about what the palette of pop star inspirations were going to be, but also like the ways in which we could get Tuda imagery into them, because I mean, the whole thing, as we said, it's like hybrid between like tudor history and like pop concert.

One detail that stands out is that Jane Seymour her dress has sort of boning that looks like the famous Tutor half timber houses, like to the housing. I love that. That's my favorite thing as well. And like people don't you know, people don't pick up with as much, but I really enjoyed that. And also like the silhouettes of the portraits. The two queens got headed have these like chokers. There's all sort of like referencing things, but they all

kind of inspired by they're not like models. Actually was interesting is early on we kind of like the initial designs felt more modeled off singular pop stars, and then it sort of felt a little bit like tribute active kind of vibes, and we're like, that's not like they aren't actually adele or whatever. They're kind of like a palette of them. So Gabby poned down to make them kind of like have elements of different pop star inspirations to kind of make them, you know, their own identity.

I don't know if this is true, but I read Toby that you filled in on the West End in the role of Catherine Parr Is that true? All the

rooms are true? I did. Yeah. It was this time in the summer of twenty nine team where there was a lots of CARSS members were like injured and there was like illness going around even pre pandemic, you can you believe, And it was getting to this point like a few weeks before where it was like okay, gosh, like you know, it's not looking going so lucy, and the directing team came up with contingency plans of like, okay, well, like if this people that will do like a version

of like at stools and we have music sound like this kind of staging if someone can't move their leg or just like all this stuff, and they're like the very bottom of this giant documents like and if if we really can't find anyone else to fill in and we can't do anything else, we'll see if Toby is free lull as it of ha ha ha, and they're like low in bold. A week later, I'm like chilling at home and I get a phone call from the stage manager being like are you free today? And I

was like yeah, why. She was like could you come into the West End and play Katherine Park for two performances, and I was like, yeah, just casually on the last step, and I was like excited about the potential of it would be like a fun day, and then you put the phone down. I was like. And then like Lucy was like on a plane, I like lazy, and You're like I'm about to take off, but you know, just

like I'm so stressed. What do I do? And she was like, I think the cast are going to be more stress that, like the writers coming into perform with them. So maybe like about you, you've been too generous to me. I think I just went, don't make it about you. I don't think I was being so diplomatic. Did you know the choreography? Well I knew parts of it, but luckily we did a concert performance, but you know, I

do rocket, get down, dance break. We were like stood at in a row and also like Genesis, who's on the album, she filled in for Rondo of Cleaves and she was amazing. They put some like adapted band costumes and these like tight tight little leather short shorts and just like inappropriate for the first couple of rows. But yeah, but then we just like stood in a row and like I forgot all the words, So I'm going we have music stands. I was like in the know, when

the lights are on you, it's quite difficult. Like these monologues, it's really totally hard to lab but I like, you know, change the move, but also may people laugh gently? How do I do that? That was like a standard comedian because shows really difficult. Wow, these writers really did about these writers like you know, like doing I guess. Yeah.

So it was ultimately quite fun and it was What was really fun was that was a nice chance like hang out with the cast, a lot of whom had been in the show for ages and we hadn't seen for long times with like gallivanting rounds. Yeah, it's quite fun being part of the gang. One thing I also love about this show is you have an all female backup band, which I don't know if I've seen on Broadway before. Was that a decision you made from the start? Yeah,

big time. As soon as we were able to have banned on stage when we first did the kind of like production of it that we wanted to do, it was like right at the forefront because you know, in the same way that at the time and was underrepresented on stage. Female musicians, especially was super underrepresented, so we were like, that's make them part the show, and yeah, put them on stage so that you can really see

the like talent that's happening. These kind of like incredible musicians who are owning it, really rocking out as the Ladies in Waiting, as the show says, I'm curious, how do you think the show has either changed or been part of this conversation of how we teach and talk about history. It's a great question. It's hard for us, I think, to have a perspective on the outside impact of it, because I still i'm sort of like surprised when people are proud of it or like, so it's

kind of hard to gauge. But I was actually my cousin's wedding over the summer, and one of her friends was like a teacher at a school in like Midlands and a history teacher, and the sort of like talking about how like it really got people kind of engaged with a particularly young people and young girls like engaged with history and like you know, like getting excited about

these like narratives and stuff. I think in terms of feminist provisionist history, like ideas of like redressing historical and embalances. I think that those things can be quite like lofty and quite like the preserve of sort of like quote

unquote like high art stuff. And actually, like I think that what maybe it's been kind of cool about six is that it's like brought it into this sort commercial space where people are going for a good time and then kind of like come away thinking about that stuff and it being presented in a way that's hardly difficult understand. That's like really like accessible and like makes sort of sense that you don't really have to like no worlds about history to engage with it. I guess, m Yeah.

There's been like a few occasions where we've had foodback from like school trips that have come to say, especially early on, and when students have right after the show been like, oh, I want to like go home and like look up Catherine Park and look up like more information about like what happened to her and like what

she did and what she achieved and all. When people have like you know, tagged us and like songs that they're writing about like other historical figures in the style of six, like six backing track and kind of like with this intention of being like you think you understand this thing from this way, but like, here's like another

way of looking at it. And so I think any person that leaves the show with like spies like question things and question different perspective on things, in questions how different stories can be told and like and I hope you're telling them affects that I think it's like, you know, really cool. I'm nice. I love it. That's so well said. Quick question. Has there been any celebrity or like star come to the show or talk about the show that

left you fully star struck? Well? What my one was when uh Aby Shallman, Paradina and Daniel Pardino, the creators of Gilman Girl's Misnagel to ski the show and I was sitting next to them and I was also in the very was she wearing a hat? That's of course she was wearing a hat present It wasn't the top hat, but it was a kind of like right peaked very

things like I think it was velvet purple. I was like, yes, she was like sitting down and I had to get up to let let them all pass, and I was like, oh my god, that is and I was so sat next to them to the whole show and obviously I was just like listening to that was pretty cool. And then I talked to them at the end and they've seen it already in London and they'd come back and they were also coming to the opening, but they decided

to come to a previous it was riled. So that was cool, But you haven't similar experience actually, right, Yeah, I was thinking that was wasn't a different It's like because the first one that came to mind was when I was actually like my cousin came to Disney in London and she was like, can we going six? I was like yeah, we like spent that day having like you know, like a boozy lunge and then were like went a long to go and see six, and then like walked into like I got our tickets, like walking

like sat down like chicked that left for me. It's RuPaul like so bring up like, oh my god, and Rupa is six? What's going on? And then like and that was really wild. Does he seem to have a good time? I think so yeah, like to picture on stage at the end and right, yeah, really really sweet. But yeah, what was really cool was when Tim Minchin went to go to see it in Australia because he is like like the biggest or like one of our biggest like writing influences, especially in terms of like song

structure and like comedy and music. He's so so so influential on our writing process and truly truly obsessed with him. And then when we found out that he went to go see it in Australia, it was like really like oh my gosh, my gosh. And he sent us this email afterwards that was the loveliest thing that I've ever read in my life, really like complimenting like writing. And I was like, oh my god, what exists wasn't for you? And so that that was that was like that was cool.

It was like someone really yeah, like yeah, it's really special. So for people who go to see the show, what's

the feeling that you hope they come away with? M H. I feel like the ultimate one is being like uplifted and like I suppose like empowered as well a kind of some of the leading ones, because obviously it's like a lot of the story is actually kind of like heavy in the actual like what happened whatever, it's as less of being like oh I want people to be like oh wow, it musk and read loads about these even though you know that would be great as well,

it's more about being like them, sort of seeing the characters realized this kind of date of like impoundment and kind of taking back control there and definitely been kind of written out. So people feeling like uplifted and like positive about smashing with patriarchy, Yeah, I'd say, like, yeah, like uplifted and that they've had like a really like from time. Um, you know, it's specially now more than ever.

But also I think a few times where we've had feedback from people have come and that have said that they felt seen on stage, and I think that's really my cold, cold hot that's wonderful. Thank you so much, so so much for taking the time out. I am such a huge fan. Toby Marlowe and Lucy Moss, the co writers and creators of Six the Musical now on Broadway. But there's an album that you can stream no matter where in the world you are. Thank you, so so much,

Thank you, thank you. Noble Blood is a production of I Heart Radio and Grimm and Mild from Aaron Mankey. The show was written and hosted by Dana Schwartz, Executive producers include Aaron Mankey, Alex Williams, and Matt Frederick. The show is produced by rema Ill Kali and Trevor Young. Noble Blood is on social media at Noble Blood Tales, and you can learn more about the show over at Noble Blood Tales dot com. For more podcasts from I Heart Radio, visit the i Heart Radio app, Apple Podcasts,

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