Calendar Girls, The Musical

I was delighted to return to The Brindley theatre this week to see D&S Productions version of the Tim Firth and Gary Barlow musical Calendar Girls. I have to admit that this is the third production of this musical that I’ve seen this year, but this version had new and fresh moments that I haven’t seen before. Directed by Donna Dale, the stage opened to reveal a bright and colourful set that gave the tonal feel of a typical Yorkshire Dale. The set (and stage) were used very well throughout. In fact, the visuals (lights, costumes and props) were very good, and each helped establish location, tone, and plot etc. There were of course some opening night gremlins, especially regarding sound, but hopefully these will be ironed out before the end of the run. I wasn’t a massive fan of the staging of the chairs in the WI scenes. Having two rows meant that some people on the back row were blocked slightly. I also felt that there was a little more work to be done on timing and diction from the younger supporting cast as a bit of the humour was missed slightly. I am of course being very picky. I really enjoyed the staging for the WI conference, which is different to what I’ve seen before. The use of the cyclorama and lighting enhanced the tone. The photograph scenes were also well staged, ensuring that actor’s modesty was adhered to. I also really enjoyed the use of the screens at The Brindley for these scenes.

Craig Price took the helm as Musical Director. I have to say that the band were brilliant and played well throughout, almost being an extra character in their own right. The harmonies from the cast were strong and the audience were treated to plenty of goosebump moments throughout.

Whilst there isn’t much choreography in this show, Charlotte Allmand helped with the staging of the movement which was apt and helped layer the piece.

A shout out to the props and costume team for their obvious hard work. The props are especially important to aid plot in this musical and I was impressed with everything, including the John Clark memorial settee.

As I mentioned briefly above there were problems with sound. This is another Brindley Theatre production in which the sound is poor. In my opinion the really need to look at this area and invest in better equipment and staff. Sadly tonight, mics weren’t cued in time, left open so we could hear cast whispering and the levels were all wrong. The band were far too loud at the beginning which made the text unclear. To be fair, this got better in Act 2.

Lighting was delightful and helped add tone and layer scenes. I liked the use of split stage lighting which helped with overall pace. I also loved the moon and moonlight on the Dale.

In my opinion, it’s vitally important to have a great rapport between Chris and Annie and this production didn’t disappoint. I totally believed they were besties, and their friendship, humour and combined pain was clear. Kat Hewish as Annie was brilliantly cast and was a wonderful protagonist. Her version of Kilimanjaro was delightful!
Lindsey Darker as a Chris was equally very well cast. She had brilliant pace, comic timing and storytelling.

Damien Riverol didn’t quite have the believability factor as Chris’ husband. I also lost a little diction too, but I have to say that he has great stage presence and comic timing.

I sadly wasn’t taken on a journey with Antony Holden’s John Clark. For me, it all seemed very staged and a little rushed. Saying that, I loved staging and delivery of John’s death scene.

The female supporting cast were simply wonderful in voice, storytelling and comedy. Anna Graves (Celia) had some lovely comic moments and was great to watch. Caireen Candlin (Jessie) was wonderful as the retired schoolteacher l, ensuring a great stage command. Hayley Dale (Cora) and Sheryl Dean) were able to showcase their skills also, although I lost a bit of diction from Hayley and could see Sheryl’s arm tattoos in one scene which I don’t think her character would have (again, I’m being very picky). One of the standout performances for me was Rachel Roberts as Ruth. I loved the energy, commitment to character and interpretation. Her version of ‘My Russian Friend’ was delightful!

The other supporting male cast helped layer foundations for the female cast and each were great at this. I have to say that the whole cast vocals were excellent and it’s clear to see that there is an abundance of talent within this society. Overall, this was a hugely successful production which was appreciated with the standing ovation at the end of the opening night. As I mentioned, there was still some work to do with tension and diction but in terms of heart, truth and being visually stunning, this production had it all, and more.

I thank D&S Productions for their hospitality and wish them all the very best for their upcoming productions of RENT and Evita in 2023!

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