The march of the
Yorkshire Calendar Girls is seemingly
unstoppable. Whilst in continental
Europe a group of middle aged women getting their kit off is perhaps not
exactly headline news, in middle England
it is a blow-your-socks-off shocker. Tim
Firth’s 2003 movie immortalised the Knapely branch of the Women’s Institute
and their true story into an international feel good hit. From there it re-emerged as a successful West End
play, and now it returns in the form of a musical. Firth has remained at the dramatic helm
throughout and this time is aided and abetted by his childhood friend Take That’s
Gary Barlow on music duties.
The entire story is of
course started by personal loss, when the death of Chris Harper’s husband John,
from Leukaemia, is a springboard for a wild idea to raise money for a memorial
sofa. It was a decision that would
transform both the lives of the Knapely W.I. and all those subsequently
inspired by their tale.
A packed theatre is
given a emotional journey of the lives of the major protagonists as we explore
each of the women and their differing backgrounds. Rebecca Storm gives a bravura vocal and
comedy performance as Annie’s wild card best friend Chris Harper, full of mad ideas and her latest to pose
naked for a calendar is greeted with derision at first. But Chris is determined to see her best friend’s
husband honoured and won’t be put off.
She is matched by a touching central performace from Anna-Jane
Casey, watching her husband get slowly
weaker during his treatment and finally facing the agonising pain and
loss.
Whilst the movie
explored much of the aftermath of the calendars’ success, this musical focuses more on the women
themselves in the lead up to the big day of the photoshoot. Their differing
lives, and how these diverse and complex women are united once a week for the
Women’s Institute, where they are forced to ensure the bulb on the projector
blows whenever they have a boring guest speaker. The producers have assembled a classy cast to
bring their stories to life. Loose Woman Denise Welch as Celia needs ‘considerably
bigger buns’ and sings triumphantly of having had work done to maintain her
looks. Hi-de-Hi’s Ruth Madoc is retired schoolteacher Jessie who takes
great delight in reminding former pupil photographer Lawrence (Derek Elroy) where
they know each other from as she is sat sans clothes. Fern Britton gives an assured
performance as W.I. leader Marie, who is
much more about the jam and preserves than stripping off. Sara Crowe steals a lot of the comedic
limelight as repressed housewife Ruth.
She finally finds her true self (as have many women I expect) with the
help of ‘My Russian Friend and I’ – vodka.
Single mother Cora is given life by Karen Dunbar as she struggles being both parents to Danny (Danny Howker), who in turn is all hormones and
insecurity whilst catching the eye of Marie’s daughter Jenny (Isabel Caswell). In
fact a shout out to the men in the production who underpin this tale of women
empowerment – Phil Corbitt (John), Ian Mercer (Rod), Sebastian Abineri (Colin),
Alan Stocks (Denis) and Tyler Dobbs (Tommo).
All lend gentle but powerful support to the distaff dames and help the
story into a three dimensional experience.
This show is very much
an ensemble piece, although Casey and Storm are the emotional heart, and the audience quickly empathise with each
of the characters throughout the evening either through laughter or the odd tear. Tim Firth knows the
characters back to front by now and delivers his usual stalwart telling of
their story. Gary Barlow’s music serves the plot well, although you are not
likely to be going out of the theatre humming any of the songs or rushing to
buy a CD. Maybe after a few listens the
score resonates more, but on a once only visit,
it is largely forgotten. Not that this matters, the sheer joy of the story more than carries the show.
Robert Jones' set design
Director Matt Ryan
understands the highs and lows of the story, and deftly moves the show along
until we get to that scene – where they finally strip off. And bravo to the ladies on stage for
embracing the inspiration for the show, and baring so much flesh. The whoops from the audience as each dressing
gown is shed shows that their courage didn’t go unappreciated.
In fact, as the audience got to its feet instantly as
soon as the curtain fell demonstrates that this touching of story of loss,
determination and ultimately triumph in raising many many thousands of pounds
for cancer research is still as relevant and inspiring today as it was in 1999
when the original calendar was launched.
Hats off (or should that be kit off) to Calendar Girls The Musical for reminding us that out of the
desolation of grief can come something wonderful.
Calendar Girls The Musical is on tour throughout 2018 / 2019 and details can be found at the official website.
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