Calendar Girls

Calendar Girls: The Musical - Based on the true story of the group of Women’s Institute (WI) members who made a tasteful nude calendar of themselves to raise funds for the local hospital where one of their husbands had received treatment for terminal cancer.  On walking into the theatre and seeing part of the Yorkshire Dales recreated on stage, and as the show starts, John, played wonderfully by Jim Apted, walks down the hill and begins to effortlessly and beautifully sing “One More Year in Yorkshire” you know it’s going to be a good show: being instantly transported to the village in Yorkshire where you feel a part of the community in all its aspects of life. Director Claire Skinner does a superb job of bringing the whole story together in all its quirkiness, humour and sadness; taking the audience on a wonderful journey of experiencing the whole gamut of emotions in one sitting. The recurring theme of sunflowers as a symbol for the women is used beautifully, and not overplayed.

The personal message from writers Tim Firth and Gary Barlow gave a lovely touch to the well-presented, informative programme.

The scenery remained the Yorkshire Dales throughout, which was a lovely reminder of the setting. It also had multifunctional elements: one of the hills folded out to an indoor room, used mainly for the room in the WI, of which they all are members; and also for some characters’ kitchens. Indoor ceiling lamps came down from above during the inside scenes which was most effective. The cast made the changes to scenery as part of the production which gave a lovely modern feel. The set and the way it was moved during the show was altogether perfect for the production.

The lyrics within the music are simply superb. They lend voice to the inner thoughts and feelings of the characters and move the audience to loud laughter or to tears, often within the same song. The vocals and the arrangements of the harmonies in the groups songs are joyous. The talent on offer within BHOS to give such gorgeous renditions of the songs with ease and aplomb is nothing short of amazing.

Each of the characters looks exactly right for who they are: from makeup to hair to clothing. For some it looks like time stopped in their lives somewhere in the 1940’s which is all part of their particular story arc. The photography session for the infamous “nude calendar” was so cleverly arranged with their dignity respected, which is entirely the point of course. They were indeed naked behind fruit baskets or with their back to the audience playing the piano and one cleverly and strategically covered with bunting and so on. It was superbly done: all of us waiting for the infamous line: “we’re going to need considerably bigger buns!”

This level of production is an extraordinary undertaking, and not one for the faint hearted. The camaraderie on stage was infectious and genuine, the journeys all the characters go through are honest and heartfelt, and empathic performances are given throughout. All of the cast could be individually singled out for their lovely performances: special mention has to go to Bob Woodman playing Jessie in this particular show, whose delivery of one liners spoken and within songs prompted loud guffaws from the packed audience. Also to the two main roles: Annie, played by Tania Newton, and Chris played by Emma Edwards who were both utterly incredible. The audience could feel their friendship, their struggles in their lives, their wrestling with the idea of the Calendar in the first place. They laugh, fall out, have struggles, and come together at the end stronger and in the case of Chris, better for everything she has gone through. In the case of Annie, the audience are with her every step of her journey, through the hopefulness that nothing is wrong with her husband John, to anxiety and worry during his treatment, to trying to prepare herself for losing him when no such preparation is possible. Tania Newton was able to put such raw emotion into the songs where she opens her heart to the audience about how she feels, losing her husband, and how life will never be the same again. These are heartfelt performances using lyrics seldom seen on stage: about how it really feels to lose someone you have loved for decades, about growing older and braving being “the colour of your heart” not your hair.

A show about embracing life and all its challenges with grace and enthusiasm, from BHOS who have done exactly that. A life affirming, uplifting and joyous production.

Susanne Crosby for Lance Milton

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