Calendar Girls

The recent production of Calendar Girls marked an exciting chapter for Murton Theatre Group, building on the momentum and enthusiasm generated during their centenary celebrations last year.

The cast delivered an engaging performance, making the evening both memorable and heart-warming. Calendar Girls is one of those shows where incredible bonds naturally flourish between the cast, given the subject matter, and this production appeared to be no different. Real effort had been made front of house to create a warm welcome, with colourful balloon displays, signage and memorabilia, and the performances were dedicated to anyone touched by cancer.

It is the musical version of the beautiful story of middle-aged Yorkshire women who produce a nude calendar to raise money for a memorial sofa via their WI group. Each character has the opportunity to explain their varied reasons for joining, and remaining part of, the WI. Written by Gary Barlow and Tim Firth, the show is both comedic and emotional, exploring themes of friendship, family, grief, and community.

Staging and Acting Consultants Jade-Leigh Hewitt and Charlie Younger did well to ensure that the production went on, supporting Musical Director Jenni Watson, who accompanied the production solo on the piano. The technical team included East Durham Audio (Duncan Baxter), supplying sound, and POSS Productions (Paul Oliver), supplying lighting effects.

Alex Gilmartin (Annie), Steph Corbett (Chris), and Norma Ord (Jessie) brought delightful authenticity to their roles, carrying the show with grace and emotional depth. Their chemistry and sincerity drew the audience into the story, highlighting its touching core. Alex’s versions of Scarborough and Kilimanjaro were good and delivered with real authenticity, conveying the pain Annie is experiencing following the death of John, ably played by Martyn Banks. John’s decline and death were portrayed softly and beautifully, enhanced by a sensitive lighting accompaniment.

Laura Wilkinson, as Cora, provided real sincerity in the role, supported by some brilliant one-liners and a strong character arc. Hollie Wilson, as Celia, showed impressive energy and enthusiasm. Lyndsey Curtis-Dawson, as Ruth, performed well, with My Russian Friend and I delivered with sincerity. Carole Young, as Marie, effectively played the role of the WI leader, a stickler for the rules who will protect her reputation at all costs. Martin O’Leary performed well as Rod opposite Steph Corbett, portraying a convincing family unit, with the flower shop in the Yorkshire village acting as a focal point for the show.

The comic timing of teenagers Nathan Johnson (Danny) and Madoc Atkinson (Tommo) was good and provided much-needed levity, with their performances drawing genuine laughter from the audience—not least for the “Snow-asis” Christmas jumpers, which admittedly had me chuckling. Aimee Curtis, playing Jenny, made a remarkably convincing chav, and it is always a pleasure to see her on stage. Supporting roles were also taken by Lee Welch, Brian Hardy, Peter Baker, Sharon Bentham, Elaine Watson, Irene Smith, Jennifer Henry, Anne Malpass, Olivia Curtis-Dawson, and Elizabeth Baker.

The simple staging ensured the focus remained firmly on the characters and their relationships, giving the actors freedom to shine. With opportunities to further enhance the set and props in future productions, there is clear scope to build on this strong foundation while retaining the closeness and warmth that worked so well in this performance.

Overall, Murton Theatre Group’s Calendar Girls was a heartfelt production, supported by strong performances and a real sense of commitment from the cast. The group continues to build on its strengths, and future productions promise even greater depth and polish while retaining the charm and warmth that made this performance so engaging.

 

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