DIVORCED, beheaded and now live in concert, it was an opening night like no other in Glasgow. Having been left bitterly disappointed after every single run of Six the Musical sold out within minutes at the Edinburgh Festival Fringe, this was the night many in the crowd had been waiting for.

Rising up from the dead some 500 years on, the queens come charging onto the stage, against a backdrop of a phenomenal, all-female band, with oomph and attitude as they launch straight into the song most are familiar with, “Ex-Wives.”

Each acting hard-done-by in her own way, the six - Catherine of Aragon, Anne Boleyn, Jane Seymour, Anne of Cleves, Katherine Howard, Catherine Parr - in the most unsisterly fashion, pit themselves against each other as they look to the audience to decide which woman had the most difficult time with the formidable Henry VIII of England.

Jarneia Richard-Noel, playing Catherine, sassily takes the mic for the first of the next six songs. In “No Way,” we’re reminded of the impossible situation she was put into as the king shacked up with Anne Boleyn, with the much-loved queen forced to stand by helplessly, eventually getting divorced. A talented singer the audience warms to quickly with her on-time comic lines.

Millie O’Connell, as Anne Boleyn, has the audience in stitches with the tongue-in-cheek “Don’t Lose Ur Head.” Although not entirely a family-friendly number, the cocky queen reminds us she didn’t stay cocky for long and throughout, uses quirky one-liners to keep drawing attention to the fact she lost her head.

Nothing prepares the crowd for the next song. After what’s been a largely light-hearted and comical start to the show, Natalie Paris, as Jane Seymour, breaks the entire venue’s collective heart with the Adele-influenced “Heart of Stone.” The show takes a devastating turn as Paris lays Seymour’s emotions bare for all to see as the queen who died just days after giving Henry the son he so craved. Tissues are highly recommended for this number.

The hilarious Alexia McIntosh’s situation in “Haus of Holbein” rings true even today, as she tells the story of how Henry was left bitterly disappointed when Anne arrived in England for a royal wedding - but looked nothing like her portrait. A number that echoes the travesty of dating app Tinder today. The Six’s Tudor ruffs light up in neon green for this brilliant, Europop-filled track. Alexia goes on to make the audience roar with laughter throughout the show. A career in comedy wouldn’t go amiss here.

Newcomer Maiya Quansah-Breed (Catherine Parr) brings the show to a spine-tingling conclusion, with a tone in her voice that has not graced the stage in Glasgow for quite some time. A talent to be watched.

With what initially turned out to be a competition with woman against woman and sister against sister, as would be expected, the six throw their rivalries aside to come together for the greatest lesson of all: girl power reigns above all and any man.

With a simple setup, the show is as much a pop concert as it is a West End show. The six singers sit at the heart of the 75-minute production and it’s an understatement to say their their flawless performances are just incredible to watch.

This troupe of strong and wronged women rave and dance on the grave of a man who caused them hurt, pain and suffering, as he thought of only himself. Old Henry will be turning in his grave as the six come back to make their mark - and rightfully so.

VERDICT: ⭐⭐⭐⭐⭐

Six the Musical is showing at the SEC’s Lomond Auditorium until December 30. Tickets cost between £11.35 and £28.40, including admin fee. Visit sec.co.uk or sixthemusical.com for more information.