Calendar Girls The Musical

Calendar Girls: The Musical is the brainchild of composer and lyricist Gary Barlow and writer Tim Firth. Barlow and Firth collaborated so intensely together, that this really brings together the story and the music seamlessly. 

Set against the backdrop of the Yorkshire dales, Calendar Girls is based on the incredible true story of the Knapley Women’s Institute, or WI, and their fundraising efforts to buy a new sofa for the Skipton General Hospital relatives’ room. Annie (Jane Ellison-Bates) and best friend Chris (Penny Hart-Woods) rally fellow WI members to pose for an ‘alternative’ calendar in order to raise the money in honour of Annie’s late husband John – much to the dismay of their WI chairwoman (Andrea Clay).

In this production, I felt as though the audience were really treated, to see the beautiful relationship between Annie (Jane Ellison-Bates) and her husband John (David Newall). 

Since the British public are so familiar with the film, it was necessary that strong actors carry this performance. I thoroughly enjoyed every performance. Each musical number was performed to it’sfull potential, be it a solo performance or ensemble number. The sense of pride and belonging was clear from each member of the cast – their feelings came across as sincerely authentic. There is a real sense of friendship between all the girls but Annie (Jane Ellison-Bates) and Chris (Penny Hart-Woods) portray the kind of friendship that stands the test of time. They are perfectly in tune with one another. Other notable performances came from teacher, Jessie (Jennifer Scott), who delivered her lines with the right amount of passion and nostalgia for a profession that only serves to highlight the passing of time, Cora (Paula Vickers) whose quick one-liners really had the audience belly laughing; particularly during the incredibly witty number ‘Who Wants A Silent Night?’, timid Ruth (Rachel Warren), who needs help from the vodka bottle to pluck up the courage to disrobe, features in one of the funniest episodes and Celia (Samantha Harrison), as ex-air hostess Celia is exuberant in her ode to her physique (‘So I’ve Had a Little Work Done’).

Lottie Cuerden as Jenny, Jack Fitzsimmons as Danny and Theo Francis as Tommo are brilliant in their portrayal of youthful flirtation and banter. Their presence adds another interesting element to the storyline, as they perfectly capture the embarrassment and awkwardness that comes with being a teenager.

There were strong performances from the supporting characters Rod (Mark Bamforth), Lawrence (Paul Coultas), Marie (Andrea Clay), Colin (Eric Parker), Denis (David Whatley-Holmes), Brenda Hulse (Pam Whatley-Holmes) and Lady Cravenshire (Sarah Churcher).

The highlight of the musical is of course the calendar shoot itself. What a work of perfectly placed props, and clever lighting! It is fair to say that some girls dared to bare, and for that they should be highly commended. It is such a positive message to send to girls and women out there, that we are all body beautiful! The structure of the musical is so much better than either the film or the play - in the film, the collective disrobing happened at the beginning, in the play, it was the first-act climax, which meant the story had nowhere to go. In the musical, however, it is the culmination of a hard-won struggle to overcome private doubts and inhibitions.

This production has not been without its problems – COVID meant changes of cast, crew, director and musical director. But Grassington Players struck gold with director, Anita Adams, and musical director, Michael Gilroy. Anita brought her unique innovative style to the production, maximising both the laughter and tears. Michael managed to get the very best out the cast, who don’t all call themselves singers.

All this would have come to nothing without the skill and expertise of the backstage team lead by Stage Manager, David Pye, and his assistant, Joan White. He was ably supported in all areas – Costume, Yvonne Stockdale & Alison Fort ; Lighting & sound, Adam Moore @ Tech 247 ; Props, David Pye & Mary Wilkinson ; Make-up, Diane Fisher ; Set Builders & painters, Peter Earl, Dave Tierney, Keith Parker, Barrie Doyle, Derrick Lee, Rob Keep, Laurel Phillipson, Sarah Hill, Anita Adams and the “Men’s Shed” team.

Special mention to the welcoming team of Front of House staff, and everybody who decorated the hall with hundreds of sunflowers.

As the cast took their final bow, the entire sold out audience were on their feet, providing the standing ovation this production so rightly deserved. 

 

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