Calendar Girls

Clitheroe Parish Church AODS’ production of Calendar Girls was nothing short of a triumph. Under the deft and compassionate direction of Samantha Smith, this beloved tale of love, loss, and late-blooming bravery came to vibrant life, transforming the church hall into a space filled with belly laughs, hushed sobs, and thunderous applause. It was an evening that reminded the audience just how powerful community theatre can be, unvarnished, heartfelt.

From the first moment, the audience was rapt. Each character felt fully lived in, each scene carefully paced. The calendar itself, cheeky yet tasteful, was artfully staged, never gratuitous, always full of warmth and meaning. These women had each other’s backs, and we in the audience felt included in their circle of solidarity. The cast was a force to be reckoned with:

Wendy Watson was magnetic as Chris, the glamorous, confident northerner whose charisma and drive made her the calendar’s ringleader. Her comic timing was razor-sharp, her vulnerability quietly creeping in as she realised her relentless ambition was pushing her husband away. Her iconic scene, flowers barely concealing her confidence, was bold and executed with class.

Lesley Haworth delivered a beautifully raw performance as Annie, quietly grieving the loss of her husband. Her pain was palpable, and her reluctant journey into the limelight, posing delicately behind a giant teapot, was both moving and symbolic. Her doubts about the calendar’s purpose gave the show its emotional heartbeat.

Kelly Steed’s Ruth won the audience’s hearts with her nervous charm. Overly devoted to her husband, “My Eddie,” her heartbreak upon discovering his betrayal was handled with a balance of comedy and depth. Her jam-making calendar pose, taken after a few drinks, was a highlight of comic vulnerability. Her awkward WI displays were endearingly funny. Geralyn Lambert shone as Cora, the cynical pianist with a heart full of secrets. Her sardonic humour and raspy wit hid a quiet longing for connection. The piano pose, complete with an unexpected tattoo, got a massive laugh. Nikki Bithell was deliciously funny as Celia, the posh golf widow who hated golf and loved being fabulous. Her exuberance and larger-than-life personality lit up every scene she entered, especially the hilariously staged “bun toucher” moment that had the audience roaring. Stephanie Zak brought sass and soul to Jessie, a retired teacher who still had a twinkle in her eye and a sharp tongue. Her witty comebacks were perfectly pitched, and her calendar pose, hidden under a nest of knitting, was both charming and mischievous. The comic chemistry between her and Alfie Bentley as Lawrence, the bashful photographer (and her former pupil), added a sweet, awkward hilarity.

Supporting roles were equally strong: Damian Marsh offered a restrained, deeply moving portrayal of John, Annie’s husband. His slow physical decline performed with dignity and authenticity, his breathlessness and posture changes subtle but devastating. His performance never tipped into melodrama, making it even more powerful. Jenny Hodkinson gave a wonderfully funny turn as Marie, the Knapely WI chair who clung rigidly to tradition. Her disapproval of the calendar, and Chris, was comically exaggerated yet grounded in a real sense of pride and protectiveness. Kevin Moore portrayed Rod, Chris’s husband, with quiet strength and understated humour. His efforts to keep his struggling flower business afloat, and his love for Chris despite her whirlwind ways, brought a grounded tenderness to the piece. Rose Hurley was delightfully patronising as the beautician who turned out to be Eddie’s lover, caught red-handed, well, knicker-handed, when confronted by Ruth. Trevor Lord was riotous as Liam, the professional photographer tasked with snapping the iconic shots. His bossy exterior gave way to awkward hilarity, especially in the scene where the women were fitted with sunflower rigs and wires. Jean Price as Lady Cravenshire and Sue Taylor as Brenda Hulse provided perfect comedic colour. Brenda’s WI talks on tea towels and broccoli were so dull they were brilliant, while Lady Cravenshire’s Victoria sponge tasting crowned Chris as a star baker.

The production values lifted the whole show even higher. Brian Haworth, aided by Mick Gidlow, crafted a realistic and versatile set that felt unmistakably like a Yorkshire village hall, with thoughtful touches like the WI concert mic and buzzer, kitchen workspace, toilet door, and a stage exit through the back hall. The front-of-curtain pastures provided a poetic space for the women to scatter sunflower seeds and perform a serene Tai Chi finale, an image that will linger long in memory.

Props were extensive and brilliantly executed thanks to Leslie Haworth, Mel Crook, and the cast. From cakes to jams, badminton racquets to sunflowers, every item contributed to the authenticity of the world. Paddy Keane’s lighting and John Ormerod’s sound created a warm, immersive atmosphere that supported the mood of each scene.

In the end, this was not just a show, it was an affirmation of courage, of friendship, of womanhood and Yorkshire grit. It was funny, touching, unafraid, and utterly full of heart. The standing ovation was not just for the final bow. It was for every laugh, every tear, every sunflower.

Brava, Clitheroe AODS, you did not just bare all. You bared your hearts, and we loved every moment. Thank you to all for the kind hospitality shown to myself and my husband. I look forward to many more shows from this society in the future.

 

© NODA CIO. All rights reserved.