Calamity Jane

Calamity Jane, inspired by the real-life frontierswoman Martha Jane Canary, was first produced as a stage musical in 1961 in Fort Worth, Texas. It was based on the 1953 MGM film of the same name, starring Doris Day, but with additional songs. It’s a real rootin’ tootin’ show with lots of the musical numbers becoming hits at the time and it has proved very popular with audiences ever since. This production, directed with a confident touch, by Jane Pegler, certainly did not disappoint. It was full of colour, character, excellent singing and dancing - all taken at a whip-cracking pace.

The action revolves almost entirely around Calamity Jane, and Kimberley Harvey took on this onerous role with great confidence and gusto, giving us a real gun-toting, thigh-slapping and loveable Calam. Her strong, clear voice never faltered, despite the number of songs she had to deliver, which ranged in style all the way from the big raucous dance numbers down to the gentle and intimate “Secret Love”, and they were all sung with consummate ease.

She was strongly supported by Danny Owen as a very laid back Wild Bill Hickok. His wonderfully rich and resonant voice must be the envy of many male singers in town. Cailtin Hoddle, a new face to me on the local stage, was a beautifully fresh and innocent Katie Brown, the perfect counterpoint to Calamity’s bluster. She was well matched by Nick Williams as the dashing young lieutenant Danny Gilmartin, their voices blending so tenderly in their duet “Love You Dearly”.

Helen Stoddart’s all too brief appearance as Adelaide Adams showed clearly that, despite her beautiful singing, Adelaide was a real bitch underneath. Alan Jenkins was nicely awkward in drag, never looking too proficient on his heels, while Brian Sweatman’s frenetic Henry Miller was also spot-on. Kayleigh Millen gets my award for best characterisation, taking the small and, usually, rather drippy role of Miller’s niece Susan, injecting huge amounts of character and stealing every scene she was in.

All of the chorus numbers filled the stage with strong singing, colour and movement, but the stand-out number for me was “The Black Hills of Dakota”. A song which can sometimes seem endless, but with the treatment it was given here, set very simply, with the cast in two groups on either side of the auditorium and building to a tremendous finale on stage, the harmonies and quality of singing left me breathless and wanting more.

Back projection provided most of the “scenery” with good, atmospheric images, setting the scene and allowing the changes, largely managed by the cast, to be slick, contributing to the good pace of the show. Costumes throughout were bright and colourful and of the right period. Excellent lighting, with good use of follow spots completed the vibrant picture. The orchestra, under the ever reliable baton of Alan Pring, produced a great sound and never overwhelmed the singers, who were helped by a crystal clear sound system.

Another quality production from South Downe. Thank you for reviving this old favourite, introducing it to a new generation and giving us all a grand evening’s entertainment.

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