Calendar Girls

Calendar Girls, adapted for the stage by Tim Firth from his own screenplay written with Juliette Towhidi, tells the true-life story of the Knapely Women’s Institute who decided to fundraise for Skipton General Hospital. Annie and her best friend, Chris, persuaded their fellow WI members to pose for a nude calendar, to raise money in honour of Annie’s late husband who had died from cancer. A frequently performed script by theatrical societies across the UK, it’s a play most NODA representatives are very familiar with and it’s easy to see why it’s so popular. It’s pretty much a guaranteed box office winner with audiences flocking to see it’s wonderful celebration of kindness and positivity and all the nicer aspects of the human race. It’s also got lots of great roles for older women to get their teeth into, a group so often overlooked in many stage plays, and Grantham Dramatic Society had a wealth of talented ladies to bring these characters to life.

Essentially, it’s an ensemble piece, focusing on the lives and friendships of six very different women, each with their own backstory which slowly come to light as the narrative unfolds. It is so integral to the success of any Calendar Girls production that these six actors integrate seamlessly to bring out the best in each other, and Grantham Dramatic Society was a great example of this. Each one of the six leads demonstrated a real depth of character, and their onstage comradery was very evident.

Sarah Clark gave a hugely emotional performance as Annie whose husband’s death is the driving force behind the fundraiser. Sarah was warm, endearing and calming without being overly saccharin and twee. She ensured there was a real twinkle in Annie’s eyes and her portrayal of an inner strength growing from profound sadness was beautifully acted. Her scenes with Gemma Dove as best friend, Chris, were particularly joyful to watch, both performers bringing much emotion and humour to their scenes.  I really liked Gemma’s take on Chris, slightly underplaying a role which can be too frenetic and loud. Chris is an energetic character, head strong and high-spirited and Gemma capture these qualities effortlessly. She was confident and bold without being overbearing and her comic timing was spot on as she delivered key punchlines and witty one-liners.

Amanda Taylor took the role of church organist, Cora, who opened the play sitting at the piano, singing Jerusalem, proving she could sing as well as act. Amanda appeared to be having great fun as the rebellious vicar’s daughter who was facing the challenges of being a single mother head on. Her performance was authentic and relatable, with Amanda successfully balancing her character’s toughness with vulnerability. Also bringing authenticity to her role was Allison Allen as retired teacher, Jessie. She gave the character real gravitas but also an underlying playfulness which showed that age, and her ‘forced’ retirement, hadn’t dimmed her spirit. Her monologue was especially moving and well-delivered.

Helen Pack as Celia, perhaps the most vibrant and self-confident member of the WI, had wonderful stage presence and a natural comedic flair. She infused her performance with lightness and a flirtatious energy which made her character extremely charismatic and watchable, whilst also portraying a true depth of feeling in Celia’s desire for acceptance and genuine connection. Contrasting beautifully with this characterisation, and completing the group of six leads, was Sharne Gimbert as Ruth. This character is arguably the most emotionally complex and experiences the biggest story arc within the confines of the play’s plot. Sharne was excellent in the role, transforming from an anxious, insecure woman to one who is empowered and courageous. She didn’t overplay the awkwardness and timidity, instead she played it with nuance. Sharne is also a very accomplished comedy actor, and she had some very funny moments. I especially loved her increasing frustration at being mistaken for every small furry animal other than a rabbit.

In addition to the talented leads, the supporting actors were also strong. Leigh Matsell as John wasn’t on stage long but left a lasting emotional impression. He portrayed his character’s illness with quiet dignity and brought a realism and restraint to his performance as John’s health declined. Nick Kime as reluctant photographer, Lawrence, was simply wonderful and for me stole the show with his perfectly performed cameo. His awkward body language, his flustered reactions and shocked facial expressions were all delivered with skill and dexterity. Nick had impeccable timing, and his comedy was never over-the-top, it was all in the understatement. Huge congratulations, Nick.

Another performance I particularly liked was Pippa Lord as Marie. She is evidently a talented character actor and has undeniable stage presence. Her judgemental tone and barely concealed passive-aggressiveness was expertly played, and she’d mastered a superbly affected ‘posh’ accent. Pippa’s broad, comedic physicality (reminiscent of Patricia Routledge as Hyacinth Bucket) was a joy to watch; however, I did feel it perhaps jarred slightly with the very naturalistic style of the other actors. This was also the issue I had with Briony Sparrow’s portrayal of Elaine. Although, it was a consummate, comic performance, it was too much of a caricature to sit neatly alongside the other characters. Having said that, it was good fun and made the audience giggle. Gary Munro as Rod, Rosemary Gibson as Lady Cravenshire and Nicki Mckay as Brenda and Leanne completed the ensemble with good characterisations.

Directing Calendar Girls is a unique challenge—it’s a play that combines comedy, pathos, ensemble storytelling, and bold visual moments – and Mark Brown and Sophie Read rose to that challenge. Between them, they skilfully balanced the humour and emotion and had clearly fostered a deep connection amongst the cast. The photo shoot scene was particularly well directed; Mark and Sophie using thoughtful and sensitive staging to empower the actors and protect their dignity whilst still maintaining the laughs and spirit needed for this most famous part of the play.

The lighting and sound were very good, unintrusive and effective in equal measure. Well done to Tom McKay for his set which was well-constructed and detailed, cleverly framing the upstage projection screen which provided the play with additional backdrops such as the hillside and the WI Central Committee venue. I did wonder whether the projections were over-used, I think I would have preferred to see a village hall interior projected onto the screen during those scenes, but that’s personal preference. A big shout out to the props team for their ‘photo shoot’ displays adorned with various cherry iced buns, marmalade making kits and knitting, and their ‘West Life in Fir Cones’ was a true triumph. The costumes were appropriate and served to compliment the actors’ characterisations as did the hair and make-up. Celia’s ‘Mrs Claus’ outfit was a very funny reveal, and Ruth’s ‘Easter Bunny’ was a highlight.

Thank you, Grantham Dramatic Society, for bringing another glorious show to the Guildhall Stage. Directors, Mark and Sophie, and producer, Allison Allen, should be incredibly proud of all they have achieved, as should their wonderful cast. Your production of Calendar Girls was rich with laughter and poignancy, and a beautiful celebration of friendship, courage and the extraordinary power of women.

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