Podcast Summary: Why Shouldn't Dylan Mulvaney Be in SIX?

Podcast: MickeyJoTheatre
Host: MickeyJoTheatre
Date: January 21, 2026
Episode: Why shouldn't Dylan Mulvaney be in SIX? | The honest truth behind the Broadway casting backlash

Overview

In this episode, Mickey Jo tackles the online backlash and heated debate concerning Dylan Mulvaney’s casting as Anne Boleyn in Six: The Musical on Broadway. The discussion explores the hysteria around so-called "stunt casting," the history, flexibility, and inclusivity of Six, the broader context of anti-trans sentiment, and the practical realities facing both performers and producers in today’s Broadway ecosystem. The episode includes Mickey Jo's industry insights, a segment featuring Dylan Mulvaney's own words, and a thoughtful, direct critique of backlash arguments.

Key Discussion Points & Insights

1. Why Dylan Mulvaney Was Cast (03:05–07:30)

• Six announced a major cast shake-up for its sixth Broadway anniversary, including Dylan Mulvaney as Anne Boleyn and Abigail Barlow as Catherine Howard.

• Dylan’s casting prompted aggressive online backlash, particularly transphobic comments.

• The show's social media team even privatized their “X” (Twitter) account to manage the vitriol.

• Mickey Jo positions himself as an informed, regular theatergoer and critic, aiming to debunk misinformation prevalent in social and mainstream media.

  “The commentary that you often see and the reporting that you often see in the press ... tends to be wildly ignorant and misinformed.”
  — Mickey Jo (04:38)

• He previews the episode’s structure: addressing the Dylan Mulvaney casting, the idea and necessity of “stunt casting,” anti-trans bigotry, prospects for trans/nonbinary performers, and why Six is making such a casting move now.

2. Dylan Mulvaney’s Background & Previous Roles (07:30–10:40)

• Dylan is a trained musical theater performer, with credits including Book of Mormon (tour), solo work at Edinburgh Fringe and Off-Broadway, and concerts in the US and UK.

• Her prior stage work as herself or non-gender-specific characters drew no backlash, unlike the Six announcement.

• Dylan became a widely recognized, sometimes controversial public figure after documenting her gender transition on social media, particularly with “Days of Girlhood.”

  “I think I can call Dylan Mulvaney a friend at this point ... Dylan a few years ago became this mega popular social media influencer ... documenting her transition with a series ... finding joy and euphoria in what can be a sort of fraught personal circumstance.”
  — Mickey Jo (08:41)

3. The Ethos and Casting History of Six (10:40–13:59)

• Six originated at the Edinburgh Fringe with a deliberately modern, flexible take on its Tudor queens, inspired by pop icons and current musical genres.

• Success led to rapid international expansion and a reputation for diverse, malleable casting – by voice, appearance, ethnicity, and gender identity.

• The show explicitly invites trans and nonbinary performers to audition; there have previously been nonbinary cast members.

• Historically, Six is not invested in period accuracy – neither musically nor visually.

  “There was no sense of rigid continuity ... It became clear very quickly, as Six rose to meteoric success, that diversity was going to be a big part of their approach and their cast, casting included, within which was an act of encouragement for trans and nonbinary performers to audition.”
  — Mickey Jo (12:40)

• Dylan's casting as a trans woman is not unprecedented for the show or the broader industry.

4. Addressing the Backlash: Dylan’s Own Perspective (15:21–16:51)

• Mickey Jo quotes Dylan’s heartfelt social media message:

  “My first instinct was to come on here and try to convince those people that I do have what it takes to be a Broadway performer and to tell you why. But then I realized that I shouldn’t waste my breath on that, because this is a miracle ... for me to be able to step out onto a Broadway stage as Anne Boleyn ... I think that’s a miracle.”
  — Dylan Mulvaney (15:21)

  “So if there are any queer or trans kids watching, I just want you to know that you can literally do anything. Maybe that’s theater, maybe it’s something different. But do not let anyone take away what brings you joy.”
  — Dylan Mulvaney (16:38)

5. Debunking Arguments Against Dylan’s Casting (16:51–20:40)

• Claims about “historical inaccuracy,” Anne Boleyn’s “motherhood,” or Dylan “taking women’s roles” are dismissed as either misguided or cloaks for transphobia.

• Points out the irony of defining Boleyn solely by motherhood in light of her execution, and that Six offers only a comedic, modernized version of these historical figures.

  "Who better than Dylan Mulvaney to really understand some of the stuff that Anne Boleyn went through, being publicly vilified in the way that she was? ... It feels a little reductive to describe her experience as Tudor cancel culture, but it’s not entirely off the mark.”
  — Mickey Jo (17:40)

• Notes that vocal keys are often adjusted for individual performers, and musical theatre should be flexible, especially for trans and nonbinary voices.

  “Is it a good musical theater song or is it just high and loud? There are a lot of performers whose performances would benefit from a little flexibility when it comes to keys.”
  — Mickey Jo (19:22)

6. The Realities of “Stunt Casting” and Industry Economics (20:40–23:19, 24:30–26:30)

• Acknowledges that Six may be using high-profile castings as a box office strategy, following the pattern of many Broadway shows after long runs.

• Stresses that without strategies like this, shows risk closing, which removes opportunities for all – including women and nonbinary performers.

• Defends the show’s overall commitment to diversity and empowerment from its inception.

  “If this is necessary to boost the box office ... and if it doesn’t get that boost and the show closes, then nobody has the opportunity to go into the show and countless individuals lose the jobs they currently have.”
  — Mickey Jo (20:54)

7. Cultural Impact and the Importance of Trans Representation (26:30–29:40)

• Emphasizes the importance of visibility for trans and nonbinary performers, especially in a show admired by younger audiences.

• Argues that denying trans women female roles amounts to erasure from public life, likening it to exclusionary bathroom bills and broader anti-trans debates.

• Notes the near-nonexistent pool of specifically trans roles in musical theatre; blocking trans women from women’s roles would mean effective disappearance from the stage.

  “...when people are demanding that female roles originally written for women not go to trans women, it’s ... a thinly veiled attempt to exclude members of the trans community from public life.”
  — Mickey Jo (28:20)

8. Ensemble Dynamics and Looking Ahead (24:30–29:40)

• Expresses hope that new cast members will gel as a group, which is essential for Six’s “girl band” feel.

• Notes that bringing back original stars Adrianna Hicks and Anna Uzele should balance any potential “star power” disruption by Dylan or Abigail.

• If the Broadway production did close, Mickey Jo speculates Six could transition smoothly to a smaller Off-Broadway run, similar to other long-running shows.

  “I do think that the possibility of a problem there is somewhat resolved by the star power of the two original Broadway company members ... going back into the show...”
  — Mickey Jo (26:15)

Notable Quotes & Memorable Moments

• On Industry Ignorance:

  “The commentary ... tends to be wildly ignorant and misinformed.”
  — Mickey Jo (04:38)

• On Dylan’s Personal Journey:

  “If I had to go viral and find myself in a far right media firestorm and spend many years and many tears wondering why that was happening ... I would do it all over again if it meant that I got to be on stage.”
  — Dylan Mulvaney (16:13)

• On Key Adaptation and Trans Voices:

  “I think it serves everyone, not just individuals from that community, to allow for a little bit more flexibility with keys in musical theatre.”
  — Mickey Jo (19:16)

• Calling Out Hidden Transphobia:

  “...It’s not about prioritizing women so much as it is a thinly veiled attempt to exclude members of the trans community from public life.”
  — Mickey Jo (28:20)

• On Dylan’s Character:

  “Truly, just being this gleeful cheerleader, I can think of few individuals more deserving of a Broadway debut than Dylan Mulvaney.”
  — Mickey Jo (31:00)

Timestamps for Key Segments

• 03:05 — Why Dylan Mulvaney was cast, Six’s milestone, introduction to controversy
• 07:30 — Dylan’s theater/performing background and rise as a trans activist
• 10:40 — History and ethos of Six + casting flexibility
• 15:21 — Dylan Mulvaney’s response to her casting controversy
• 16:51 — Debunking the main arguments of the backlash
• 19:22 — Discussion on musical flexibility for trans voices
• 20:54 — Stunt casting necessity and the economics of Broadway
• 24:30 — Ensemble balance and box office realities
• 28:20 — The real agenda behind exclusionary arguments
• 31:00 — Closing thoughts on Dylan’s worthiness and recommendations

Conclusion

Mickey Jo argues passionately that Dylan Mulvaney’s casting as Anne Boleyn is a logical, overdue, and positive step for Six and Broadway. He offers historical, social, artistic, and pragmatic context, calls out the often-unspoken transphobia driving the backlash, and urges both the industry and audiences to embrace diverse, authentic talent on stage.

To sum up:
This episode is a robust defense of inclusive casting, a nuanced view of Broadway economics, and a celebration of trans visibility in theatre, centered around Dylan Mulvaney’s history-making role in Six: The Musical.