Calendar Girls the musical

Kidz R Us have an adult section, KidzRUs2, who performed in this case.  In addition to the familiar MD looking after the music, the production had a professional director cum choreographer to stage it.  The show is well known to her as, according to the programme notes, she is “directing it across the country” so we can be sure that she knows what she’s doing, and has the experience of the show to have explored its nuances and the skill to suit each production to her individual casts.  It’s clear that she gave this cast a thorough grounding in the characterisations and relationships necessary to bring the show alive, as well as drilling the initial blocking and movement sequences, notably the energetic and fun Who Wants A Silent Night.  She could confidently leave it to Phil as Artistic Director to rehearse it in her absences knowing her returns allowed for further detailed character work and the final polishing into a slick nicety.  

The varying moods of the story were enhanced by a sympathetic lighting plot that captured the vivid sunlit days at the allotment or on the hillside, and contrasted that with the more sombre sensations evoked by the hospital waiting room and the tragedy of the funeral scene. Spots illuminated a bench down left for intimate conversations between characters, and picked out Ruth’s vodka solo at centre stage, and the camera flashes made believable the photography of the disrobing scene.  Impressively the drama of the WI Conference was highlighted in steely tones punctuated by a harsh spot on the lectern.

The five-piece orchestra made a full and satisfying sound, and without doubt the heroic last minute stand-in trombonist was a godsend to the production adding to the integral Yorkshire Brass Band soundtrack that supported the narrative.  I hope it’s not unfair to acknowledge that not all the performers had strong and recently experienced singing voices, some joining the cast after years away from the stage or as new additions to the Kidz stable and if in these cases the microphones helped lift the volume it is also true that the confidence and commitment shown by everyone in every minute was captivating and thoroughly engaged the audience with the tales of the individuals portrayed. Diction was good and the script’s witty dialogue was delivered with light and shade, plus warmth and pathos, and exploited the comedy moments as well as revealing a genuine sense of loss and love.  

The Props suppliers found an abundance of hand props to pass across the stage filling the action with visual detail: if they are taken for granted by the audience it is perhaps an appreciation of the conscientious efforts to supply just the right props for the moment.   Warm congratulations to the Stage Management team.

The wardrobe requirements of Calendar Girls, apart from Bigger Buns, are largely normal daily wear, as are the hair and make up needs, with the exception of a bewigged John to facilitate his post-treatment baldness.  The cast are given credit for dressing themselves and we saw a pleasing array of outfits that supported the characters with the addition of hospital porter’s tunic and school uniform blazers.   A few of the ladies had aprons protecting their modesty as they disrobed and the sunflower motif was used extensively culminating in the finale when I wondered just how many available fabrics use the design, from small to enormous in all shades of yellow and orange.   The variety accumulated demonstrates an admirable willingness not to stint or hold back.

The casting was impeccable with a powerfully believable Annie and a Chris strong in her caring and support.  The ladies all demonstrated not only a sense of comedy but also trust in and concern for each other, and if the pace dropped a little as positioning was carefully checked before each reveal, we certainly didn’t mind.  Their sincerity came across as they created characters with authentic feelings for one another.  Fleshing out the storyline, the husbands and offspring of the main protagonists added depth and perspective to the “beyond WI” lives of the women and, particularly in the case of John’s dignified disintegration and demise, were touchingly portrayed with honest intimacy.  It is a measure of the investment the cast members gave to the production that I saw real tears on stage from more than one during the funeral and could clearly hear sobs and sniffs from around me as we tried to control our own responses to the emotional climax.

 

 

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