Calamity Jane

What a delightful change to see a good old fashioned American musical, a rare treat these days. A trip down to Letchworth as a guest reviewer proved just such a delight!

Albeit a long time ago I have to confess, although I have of course seen the famous Doris Day film from which the stage show originated, I have never before seen the actually stage show itself. I was therefore looking forward to filling in this gap in my theatre experiences. I was not disappointed!

The Christopher School theatre is equipped with well racked seating giving an excellent view of the enormous stage area, mainly thanks to its huge forestage, which comes right up to and includes the front row of the audience. The main set being supplied by Proscenium and built by Steve Roden was from the West End production and fitted this stage very well indeed. The main scenes being ‘The Golden Garter’ saloon, complete with bar, table and chairs, a dressing room scene for Adelaide Adams and a rather splendid log cabin for Calamity’s house. Everything else simply played to blacks.

The  wardrobe department: Viviann Driver, Eve Howe, Sarah and Neve Murdoch & Sue Wilkinson surpassed themselves with some splendid and very authentic looking outfits from the spectacular evening wear to military uniforms, ‘Injun’ costumes and of course not to forget the fantastic variety of cowboy outfits or indeed Calamity’s  very recognisable fringed jacket and leggings All of which, together with a great display of authentic wigs  by Derek Easton gave a splendid variety of colour and sparkle to the show.

Michael Williamson lit the set bang on all the cues with a good wash of colours, (I love these new LED lights that are slowly permeating the amateur theatre world!) and Phil Stannard gave us crystal clear sound, except when competing with underscoring. Nothing against Phil or Arcadians, but it is a perennial problem with amateur production of musicals wherever I go. Luckily not too much of problem once we had finished with the opening scene, thank goodness!

The orchestra under the excellent leadership of Musical Director Graham Albone was a class outfit positioned in the wings consisting of 2 Violins (Janet Hicks and Paul Costin), Double Bass (Fiona Nisbett, Reeds (Caitlin Jefferies, Ian Killoran), Trumpet (Simon Router), Percussion (Chris Gray) and Keybpard (Rob Cousins).

Choreography by Heather Kynnersley, was a delightful mix of the good old fashioned with a few clever modern tricks thrown in. The use of tableaux was very effective indeed,although perhaps a little static at times, but understandable with such a large cast. Some of the numbers were very well drilled indeed with bags of energy and vibrancy.

Direction by David Walker was tight throughout with a finelevel of pace, particularly impressive for an opening night. From the moment of the opening bars of ‘The Deadwood Stage’ it was clear he had stamped an experienced hand on the show and the whole thing sizzled and cracked, inter dispersed with gunshots, from beginning to end. The audience got exactly what they hoped for, or as my other half said after the opening number, ‘I think I’m going to enjoy this!’

Gilly MacKilligan as Calamity Jane has obviously waited all her life to play this part. She was big, bold, brash, funny and if I had to imagine somebody other than Doris Day playing this part it would definitely be Gilly MacKilligan. She owned the stage and every scene she was in and not to mention what a lovely voice too boot! Perfectly cast!

Tim Dawes as Wild Bill Hickock was an excellent foil to Calamity especially in the little comic spats between them,and again, what a voice! He certainly has a very extensive range. Simon Latter as Danny Gilmartin the solder love interest first to Calamity and later to Katie brought military swagger to proceedings and again a very competent singer indeed. Robert Driver kept order as Henry Miller the owner of The Golden Garter as he dealt with the various crisis and setbacks which come with running the town’s saloon and were rarely of his own making. Karl Toombs as the gender mistaken Francis Fryer provided the additional comedy as the song and dance man. Loved his drag queen act, very convincing and a splendid pair of legs to boot! Lucy Walkeras Katie Brown a would be Adelaide Adams, soon came out of Katie’s shell and shorn as a the saloon bar’s own singer and dancer in her own right. Emily Woodhouse as Susan the put-upon barmaid and daughter (or niece?) of bar owner, Henry Miller provided the extra romance with Francis Fryer. 

Not knowing this story that well I was a little disappointed in Adelaide Adams. Not I hasten to add with Sian Spencer who played her well and did her proud, but for the fact that she was a big named part and then only had a 5 minute scene. I kept expecting her to reappear and do something else, but sadly not to be. So I’m not quite following that billing. I can only assume because the character herself is a prominent part of the plot, even if we only get a fleeting glimpse of the real thing in passing! Shame..?

For the absolute splendid chorus of whom there are too many to name I take my Stetson off to you all. The various characters and implied subplots to go with them were wonderful. In all the saloon scenes there was always plenty going on. From the two ‘redskins’ to the marvellous moustached old timer in the straight edged hat (who gave Calamity away), the super Cancan girls to the poker playing cowboys, it all helped great a marvellous atmosphere.Brilliant job!

So thank you Arcadians for both your super show and also your very warm hospitality (only a brief reference to the school’s need to install air-con!), a good evening’s entertainment and I hope the rest of the run goes as well. 

On a final note, Simon Latter might like to consider entering his striking programme into the NODA programme and poster competition, it’s really rather impressive and cut above the norm! If he does he needs 6 copies to go to Vicki Avery please.

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