Calamity Jane

The orchestra got this well known show off to a good start, the overture was bright and pacey, reminding us of the well known song that were in store for us. This then led into the rousing opening number ‘The Deadwood Stage’, which introduces most of the main characters in the show.

The set for ‘The Golden Garter’ had been well designed with a small stage at the back, bar and tables and chairs, it gave the atmosphere of a bustling establishment which was the centre of relaxation and entertainment in the town. Sets for other scenes had been designed with varying degrees of complexity from using tabs and furniture for Miss Adelaide’s dressing room, a more complex set for Calamity’s cabin, to a stark Fort Scully, and the beautifully painted backcloth for the Black Hills.  The trap, which took Calamity Jane, Katie Brown, Wild Bill and Danny Gilmartin to the dance, was excellent, but I felt it overpowered this small stage squashing the rest of the cast into a tight huddle. All the sets worked well, with appropriate furniture and set dressing. Mostly the changes were fairly smooth with music to cover the more complicated ones.

Lighting had been well-designed giving appropriate lighting effects for indoors and out, with moonlight for ‘The Black Hills of Dakota’. The sound effects were well cued I particularly liked the horse. There was good use of microphones; they were well balanced and cued.

The choreography was suited to the show, with lots of energy and everyone looking confident with what they were doing. The ‘Dancing Girls’ of the ‘Golden Garter’ gave the clients what they wanted, especially in the ‘Can-Can’. The wardrobe team had produced a well fitting and appropriate set of costumes, with, wigs and make up adding to the overall picture. Calamity’s transformation was gradual, ending with that splendid wedding dress.

Musical Director Roger Winter had excelled with his orchestra; they were well balanced always together and never drowning out the voices a real pleasure to listen to. Roger had also worked hard with the singers the diction was excellent from the whole company but I must commend Calamity on being able to hear every word she sang, particularly in ‘The Deadwood Stage’ when it is so important to hear the introductions.  The singing was of a high standard throughout, two favourites were ‘The Black Hills of Dakota’ with the lovely harmonies and ‘Secret Love’.

The company had worked hard to produce some well-rounded characters. Calamity is a physically and vocally challenging role and this one had it all; good singing and good character development from the strutting ‘cowboy’, to the frustrating attempts at femininity, then to the ‘suddenly smitten by love’. The chemistry between Danny Gilmartin and Katie Brown worked well, they were believable in their scenes together.  Katie Brown showed a good contrast of character to Calamity, and there was lovely development in the two renditions of ‘Keep It Under Your Hat’. Francis Fryer is a lovely role and was well played, and there was good interaction between him and Susan.  Susan came over as a level-headed girl, who was the mainstay of ‘The Golden Garter’.  All the other principals had worked to built individual characters give interesting portrayals. The chorus always gave solid supported to the action in singing, dancing, acting and reacting to everything that was going on, and looking as though they were enjoying being there.

Director Alison Hennessey had obviously put a lot of thought into what she wanted from everyone in this her directorial debut. There were well-constructed scenes, good interaction between characters and lots of pace and energy. Everyone in all departments had worked together to give the audience an entertaining evening.

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