Calendar Girls

So, it’s now available for general use by amateur societies again. First released for a limited period back in September 2012, I haven’t seen it since, however I have fond memories of the several productions I saw at the time, including my own society’s. So I was keen to renew my acquaintance with this masterpiece of a script by Tim Firth. It is one of those plays with iconic lines which even when you know they are coming still made you laugh.

 In the hands of Maulden Players and Director Alison Struthers I was not to be disappointed.

Based on real life events it tells the story of WI Ladies in the fictional Yorkshire town of Knapeley who, inspired to replace an uncomfortable sofa in the local hospital in memory of one of their member’s husbands, set about creating the “Alternative” WI Calendar.  They end up attracting world-wide attention and in doing so raise over £6 million pounds to date for Leukaemia Research – enough to pay for a whole ward and a sofa!

The set, designed by Phil Allen, Marion Hynes, Norma Henderson, Dave Joy and Alison Struthers and under the management of Mark Allen and Dave Joy, was confined to the interior of the hall in which the Women’s Institute would meet, with bare beige walls and just a portrait of the late Queen Elizabeth II in prominence on the back wall, together with a notice board. Two doors, one either side serving as the only exits and entrances. A hatch with doors that played a prominent part in the photographic session was also built into the back wall. Furniture consisted of an upright piano with stool below the Queen’s portrait, a stack of chairs, which were well used throughout the show, and a hatstand. Other scenes were either done by spotlighting a particular area of the stage or in front of the tabs, with outdoor scenes being a projected image of the Yorkshire Dales, and at the end of the show a giant blowup picture of Sunflowers, which did look a little odd as not being back projected also threw the image on to the actors themselves. But understandable for cost reasons.

The stage was well decorated with the various props sourced by Phil Allen, Marion Hynes, Helen England, Norma Henderson and Alison Struthers

Lighting was by Nick Endacott; Mark Sheppard added the opening music and the various sound effects which enhanced the atmosphere, all to good effect, with - who else but that stalwart of The Players  - Ron Chimes, coming up with the Piano arrangements.

The pace was fabulously relentless and the first thing to say about this cast was they never missed an opportunity to rinse every ounce of comedy out of the script. On the hottest night of the year so far with temperatures in the village hall approaching 30° and the humidity off the scale, the concentration and attention of the mostly female audience never wavered. Not a line was wasted. This was a very well-rehearsed cast who feed off each other superbly.

The pathos came from Vikki Summerfield as Annie, the wife of Leukaemia victim John, superbly played by Simon Jeffery, whose gradual decline and eventual death with him walking off stage just leaving an empty wheelchair was particularly poignant.

Tracy Canavan-Smith as Chris was the live wire of the group, with fabulous comic timing who as wife of florist Rod, played by Zep Tocco giving us the cheekiest of poses for the calendar, decked in nothing but roses covering her modesty, drawing both a gasp, a huge laugh and applause, when she took her coat off for the photo. Nobody was expecting that!

Elaine Impey was the pianist Cora, her pose of course was sat at the piano with the iconic line “If I don’t get them out now, when am I going to?” . Another excellent performance, as was that of Maxine Tocco as the teacher Jessie. One of the best quips was hers to Laurence the photographer whom she had taught at school.  “If you didn’t recognise me as your old schoolteacher with my clothes on, will you recognise me without them?”

Some of funniest quips also came from Lauren Chimes as Celia as the rather bitter Golf widow who never missed an opportunity to have a dig at the golf club and her husband’s love of the sport. 

Helen England was the people pleaser Ruth, who was initially reluctant to participate but eventually found the strength to join in with the help of a little Dutch Courage.

One of best standout characters has to be the very contrasting stuck up prude Marie, superbly played by Zoe Barke whose expression on walking in on the photo session was priceless as she fainted in the doorway.

Edward Frizzelle as Lawrence the sensitive photographer was also top draw with his reactions to being somewhat overwhelmed by the WI ladies but eventually taking control to get the job done.

A lovely set of little cameos from: Liza Blackman as Brenda Hulse, Julie Briggs as the very upper crust Lady Cravenshire, Tayla Blackman as Elaine the makeup artist and Ruth’s husband’s lover given short shrift in no uncertain terms by Ruth, and Ben Michaels as the cameraman from the soap company advert, who was totally oblivious to the women’s sensibilities.  Excellent support from all four of them.

So well done indeed Director Alison Struthers, her cast and crew, keeping us awake in that heat was an achievement in its own right, but keeping us laughing in the isles from the opening Tai-chi exercises to the closing one showed what a top draw society Maulden Players are.

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