Calendar Girls
The death of a much loved husband prompts a group of ordinary women in a small Yorkshire Women’s Institute to do an extraordinary thing. Blasting away all preconceptions of what it is to be in a women’s institute, they decide to do an artistic nude calendar to raise money for charity. Upturning preconceptions is a dangerous business and none of them expect the emotional and personal ramifications, but gradually the making of the fabulous and funny calendar brings each woman unexpectedly into flower. The true story of the Calendar Girls launched a global phenomenon, a million copycat calendars, a record breaking movie, stage play and musical written by Tim Firth and Gary Barlow which coined the term “craughing” – the act of crying and laughing at the same time.
NODA North West
Author: Joe Clarke
I was delighted to return to The Brindley theatre this week to see D&S Productions version of the Tim Firth and Gary Barlow musical Calendar Girls. I have to admit that this is the third production of this musical that I’ve seen this year, but this version had new and fresh moments that I haven’t seen before. Directed by Donna Dale, the stage opened to reveal a bright and colourful set that gave the tonal feel of a typical Yorkshire Dale. The set (and stage) were used very well throughout. In fact, the visuals (lights, costumes and props) were very good, and each helped establish location, tone, and plot etc. There were of course some opening night gremlins, especially regarding sound, but hopefully these will be ironed out before the end of the run. I wasn’t a massive fan of the staging of the chairs in the WI scenes. Having two rows meant that some people on the back row were blocked slightly. I also felt that there was a little more work to be done on timing and diction from the younger supporting cast as a bit of the humour was missed slightly. I am of course being very picky. I really enjoyed the staging for the WI conference, which is different to what I’ve seen before. The use of the cyclorama and lighting enhanced the tone. The photograph scenes were also well staged, ensuring that actor’s modesty was adhered to. I also really enjoyed the use of the screens at The Brindley for these scenes.
Craig Price took the helm as Musical Director. I have to say that the band were brilliant and played well throughout, almost being an extra character in their own right. The harmonies from the cast were strong and the audience were treated to plenty of goosebump moments throughout.
Whilst there isn’t much choreography in this show, Charlotte Allmand helped with the staging of the movement which was apt and helped layer the piece.
A shout out to the props and costume team for their obvious hard work. The props are especially important to aid plot in this musical and I was impressed with everything, including the John Clark memorial settee.
As I mentioned briefly above there were problems with sound. This is another Brindley Theatre production in which the sound is poor. In my opinion the really need to look at this area and invest in better equipment and staff. Sadly tonight, mics weren’t cued in time, left open so we could hear cast whispering and the levels were all wrong. The band were far too loud at the beginning which made the text unclear. To be fair, this got better in Act 2.
Lighting was delightful and helped add tone and layer scenes. I liked the use of split stage lighting which helped with overall pace. I also loved the moon and moonlight on the Dale.
In my opinion, it’s vitally important to have a great rapport between Chris and Annie and this production didn’t disappoint. I totally believed they were besties, and their friendship, humour and combined pain was clear. Kat Hewish as Annie was brilliantly cast and was a wonderful protagonist. Her version of Kilimanjaro was delightful!
Lindsey Darker as a Chris was equally very well cast. She had brilliant pace, comic timing and storytelling.
Damien Riverol didn’t quite have the believability factor as Chris’ husband. I also lost a little diction too, but I have to say that he has great stage presence and comic timing.
I sadly wasn’t taken on a journey with Antony Holden’s John Clark. For me, it all seemed very staged and a little rushed. Saying that, I loved staging and delivery of John’s death scene.
The female supporting cast were simply wonderful in voice, storytelling and comedy. Anna Graves (Celia) had some lovely comic moments and was great to watch. Caireen Candlin (Jessie) was wonderful as the retired schoolteacher l, ensuring a great stage command. Hayley Dale (Cora) and Sheryl Dean) were able to showcase their skills also, although I lost a bit of diction from Hayley and could see Sheryl’s arm tattoos in one scene which I don’t think her character would have (again, I’m being very picky). One of the standout performances for me was Rachel Roberts as Ruth. I loved the energy, commitment to character and interpretation. Her version of ‘My Russian Friend’ was delightful!
The other supporting male cast helped layer foundations for the female cast and each were great at this. I have to say that the whole cast vocals were excellent and it’s clear to see that there is an abundance of talent within this society. Overall, this was a hugely successful production which was appreciated with the standing ovation at the end of the opening night. As I mentioned, there was still some work to do with tension and diction but in terms of heart, truth and being visually stunning, this production had it all, and more.
I thank D&S Productions for their hospitality and wish them all the very best for their upcoming productions of RENT and Evita in 2023!
North West End
Well, we have all probably seen the film – a bunch of middle – aged, bored housewives from a remote Yorkshire village, who, to raise money, decide to do a saucy calendar of them all naked. The film had such stars as Julie Walters and Helen Mirren and was a phenomenal success with all the cast being remembered for their bravery on the big screen.
So, for the award-winning amateur dramatic group – D & S Productions – this was an even more courageous choice of show to attempt, in front of a live local audience. But attempt it they did, led by their chair and director/producer Donna Dale and Charlotte Allmand (choreographer), Craig Price (musical director) and Steve Dale (stage manager). To even dream of doing this was ambitious but to bring this challenging concept alive on stage was an encounter few would attempt.
As the show began, with the enigmatic Antony Holden playing John (the reason of the calendar) walking through the hills of Yorkshire singing how his Yorkshire town did the same thing every day – I was intrigued as to how the production team were going to reach these high expectations.
The first couple of numbers seemed a little loud (not sure if it was a technical issue), but once the members of the Women’s Institute welcomed us into their unique life of jam making, crocheting and talks on the benefits of broccoli, all became settled. The songs (beautifully written by Gary Barlow, with script by Tom Firth) were delivered well and we – the impatient and equally intrigued audience – were ‘hooked’.
The story of the friends who, through the traumatic loss of Annie’s husband, (the afore mentioned John) become local celebrities, by daringly being part of a nude calendar, is both endearing and heart-breaking – the songs (sang spectacularly by the very talented Kat Hewish – Annie) had me physically in tears, as she sang of the fear of losing and then grieving her beloved husband and conversely outright hysterical , thanks to the daring and impressive talent of every member of the female ensemble. When Jessie sang “what age expects of you” I was transfixed as I sat with my 89-year-old mother – an excellent rendition by the talented Caireen Candlin. Each member portrayed their unique character with ease and endeared us to their small community, showing how they got through each day, with the support of whacky friends.
The story builds up into a crescendo of delight and screams of laughter, the stage set was effective, the songs delivered with flair (great numbers by Hayley Dale and Lindsey Darker) and the whole ensemble including the gifted youngsters Jack Darker, Maisie Smith and George Swift, supported the main cast superbly. We endured their pain and suffering, their fear and embarrassment and their joy and euphoria. The rollercoaster of emotions left each of us spellbound.
I want to say – well done. Well done for taking the risk, for pushing the boundaries, for making me cry, with sorrow and laughter and for bringing this legendary film to life on this Runcorn stage with such passion, genius and resilience. This was the first night – but no nerves showed, the cast were faultless and the audience – the whole packed house – were on their feet applauding madly in recognition at the end of this brilliant show. The cast should be very proud of this achievement. I wasn’t sure if this could be done – but Donna Dale you and your wonderful cast did it with ease! Don’t take my word for it – come and see this entertaining show while you can!
The show is on at the Brindley Theatre from Wednesday 26th – Saturday 29th October 2022 at 7.30pm. Full price: £19.00 (All prices include booking fees), https://tickets.thebrindley.org.uk/
Reviewer: Jan Mellor
Reviewed: 26th October 2022
North West End UK Rating: ★★★★
