Calendar Girls

When Annie’s husband John dies of leukaemia, she and her long-standing best friend Chris resolve to raise money for a new settee in the local hospital waiting room. With varying levels of encouragement, they persuade four friends and fellow members of the Women’s Institute (W.I.) to pose nude with them for an “alternative” calendar. They are assisted by hospital porter and amateur photographer Lawrence, who cared for John in his final days. This is much to the horror of their local W.I. chairman, Marie.

The success of the calendar goes beyond their wildest dreams and they soon raise the money needed and much more. Their efforts also catch the attention of the national and international press, who descend on the small village of Knapeley in the Yorkshire Dales. Although the calendar is a huge success, Chris and Annie’s friendship is put to the test by their new-found fame, and Chris is forced to question her true motivation for taking part.

Tim Firth’s hilarious play is based on the true story of eleven W.I. members who famously posed nude for a calendar to raise money for the Leukaemia Research Fund in 1999. 

Rachel Simpson delivered a strong and sincere performance as Annie. Her relationship with Chris, played by Becky Murray, felt completely natural and believable. I found myself sharing in their laughter, their struggles and their sadness throughout the production. Together they formed a superb double act, supported by an equally talented cast of ladies.

Jodie Morgan gave a warm and grounded portrayal of Cora. Opening the show with her rendition of Jerusalem, she immediately established the character’s down-to-earth nature, while her comic delivery earned plenty of laughs from the audience.

Judith Henderson was a delight as Jessie, with her dry delivery and impeccable comic timing bringing frequent laughter.

Ellen Elliot gave a vibrant and charismatic performance as Celia, capturing the character’s playful and flirtatious nature perfectly.

Gillian Rothery portrayed Ruth’s uncertainty and apprehension with great sensitivity before revealing a stronger, more confident side to the character. Her confrontation with her husband’s lover, Elaine, a self-important beautician played by Kayleigh Slack, earned one of the biggest cheers of the evening. I will not repeat the words used, but the audience certainly appreciated them.

Sarah Blaney gave an accomplished portrayal of Marie, the W.I. chairwoman whose traditional outlook leaves her increasingly out of step with the other members.

Stuart Buchanan played Annie’s husband John with warmth and sincerity. At the start of the play he was fun-loving, outgoing and good-natured, clearly adored by his wife and friends. As his illness progressed, his portrayal became increasingly moving. The scene in which John rose from his wheelchair and followed the bright spotlight was one of the most poignant moments of the evening. A touching and memorable performance.

I now come to Lawrence, played by Dave Wilson. Making his stage debut, Dave impressed with a confident and engaging performance. The iconic photo-shoot scenes, so crucial to the success of the play, were handled with precision, creativity and just the right amount of cheek. Each reveal was tasteful, funny and rewarded with enthusiastic applause from the audience.

 

It is not often that I mention every member of the cast, but on this occasion I feel they are all worthy of recognition. Yvonne Mahaffy as Brenda Hulse and Lady Cravenshire, James Ridehalgh as Rod and Will Dodd as Liam all made valuable contributions in their supporting roles.

Rob Ward’s sound and lighting design complemented the action on stage beautifully, creating warmth, intimacy and atmosphere throughout the production while perfectly capturing the mood of each scene.

Stage Manager Simpie and the Crew Rocks NW Ltd team also deserve great credit for the set design. I particularly enjoyed seeing a curtain utilised in this theatre, as it effectively separated the village hall from the hillside setting, both of which looked outstanding.

Finally, congratulations must go to director Anne Wilson. I had already heard glowing reports about this production before attending, but seeing it first-hand exceeded all expectations. The attention to detail was evident throughout, and the audience response spoke volumes. It has been many years since I have witnessed applause following so many scene changes and blackouts. While most groups would be delighted with a near-capacity audience, to achieve four sold-out performances and then add an extra show to satisfy demand is a remarkable accomplishment and a testament to the quality of the production.

Congratulations to everyone involved in this production. It was a thoroughly enjoyable, moving and entertaining evening of theatre, and one that audiences will continue to talk about long after the final curtain falls.

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