Calendar Girls

Encore Performing Arts’ recent production of Calendar Girls was a shining example of community theatre at its very best – warm, funny, moving, and ultimately uplifting. Under the sensitive and skilful direction of Adam Guest and Katie Bird, the show captured the heart of Tim Firth’s story, balancing the comedy of the Women’s Institute’s bold calendar project with the deep emotion of friendship, grief, and resilience. From the opening scenes in the WI hall to the unforgettable sunflower finale, this was a performance that made the audience laugh, cry, and reflect in equal measure.

The cast brought a wonderful mix of energy and authenticity to the stage. Mina Holtom was outstanding as Chris, the feisty, larger-than-life character who propels the story forward. She had the audience in stitches with her cheeky humour, but later revealed Chris’s more vulnerable side with real poignancy. In contrast, Lizzie Norris gave a tender and deeply moving performance as Annie, her quiet strength shining through in the face of loss. Together, the pair’s friendship was utterly believable and central to the play’s heart.

The rest of the WI members were equally strong. Sandy Lane brought warmth and wit to Cora, while Angela Walters was a true standout as Jessie, her comic timing and fearless attitude made her a joy to watch. Kathryn McAuley’s Celia sparkled with charm, and Milly Bould gave Ruth a touching journey from insecurity to empowerment. Alex Tavener embodied Marie, the formidable WI chairwoman, with poise and authority, and Hayley Wood impressed with her versatility in juggling three very different roles as Brenda Hulse, Lady Cravenshire and Elaine.

The men gave memorable performances too. Martin Holtom’s portrayal of John was beautifully understated, his final moments on stage, a gentle touch on Annie’s shoulder as he departed, providing one of the most emotional points of the evening. Simon Parker offered a grounded and supportive presence as Rod, Chris’s husband, while Kheenan Jones captured the nervous charm of young photographer Lawrence before confidently stepping into his professional role. Jack Readyhoof rounded out the ensemble with a brash and energetic turn as TV director Liam, bringing welcome bursts of humour.

The staging and technical elements were handled with real care. The iconic photo-shoot scenes, so crucial to the play’s success, were executed with cleverness, slickness, and just the right amount of cheek, each reveal was tasteful, funny, and earned rounds of applause from the audience. Stage manager Emily Owen ensured scene changes were seamless, keeping the action flowing at a perfect pace. Terry Stevenson’s set design was both practical and impressive and the backdrop of the Yorkshire hills provided a striking sense of place. The giant sunflowers that closed the show, decorated with photos of cast members’ family and friends affected by cancer, created a moment of powerful shared emotion that stayed with the audience long after the curtain fell.

Props played a vital role in this production, and Katie Bird’s attention to detail brought an extra layer of authenticity and humour, from buns to preserves; nothing was overlooked.

The programme, designed by Matt Powell as a nude calendar in homage to the play itself, was a stroke of brilliance, not only enhancing the experience but also raising money for Treetops Hospice and About Every Cloud.

David Price’s lighting design added warmth, intimacy and atmosphere to every scene, while sound, also managed by Adam Guest, was great. The decision to work without microphones allowed for a natural performance, with clear diction and excellent projection throughout. Subtle musical choices underlined key moments, heightening both comedy and sentiment.

Even the front of house experience tied seamlessly into the show’s spirit. Under the direction of Sophie Slater-Evans, the foyer was decorated with bright sunflowers, greeting audiences with a visual reminder of the play’s themes of optimism and remembrance before they even entered the auditorium.

Encore Performing Arts’ Calendar Girls was more than just a play; it was an event that celebrated the strength of women, the power of community, and the healing nature of laughter. It was theatre that entertained, touched the heart, and carried a message far beyond the stage, a production to be remembered with a smile and a tear.

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