Calendar Girls. The Play.

This sentimental telling of the real-life story of the group of WI ladies who decide to raise money for a new sofa for a local hospital’s leukaemia department, in memory of one of the husbands, is full of affection and laugh out loud humour, yes, it is somewhat populist and formulaic, but these are not detrimental terms when discussing a play like this. The writing is clever, witty, with a pleasing pace and rhythm and the relationships well developed and believable and this production embraced all of those wonderful elements and cosily unfolded this heart-warming tale terrifically.

Rachel Barrington played Chris. The best friend of Annie, whose husband’s death sparks the whole calendar adventure. Rachel’s assured and funny portrayal was a delight. The sarcastic, intelligent comedy delivered just right. Great work!

Annie was played beautifully by Jenny Hollinshead. An unassuming and endearing rendering. It has to be said that the relationship established between Annie and Chris was very genuine but equally, if not more so, was the husband-and-wife connection between Annie and John played brilliantly by Stuart Sephton. To establish a pair of characters so well, in such a short space of time before his demise, is commendable. We were invested in this couple from the off and this fuelled further our support for the story. Stuart’s scenes, where he had become frail were perfectly played and credible. The tear-jerking moments in this play were due to this relationship as well as the swell of pride for the ladies’ efforts.

Rosalind Ford gave us Jessie. A fun and witty portrayal with clever delivery. There was a monologue moment where the words felt completely sincere, and it was easy to forget this was a character being played. A nicely executed scene in a skilled performance. Well done!  

Highly entertaining was Ruth performed by Rosarie Walsh. She was laugh out loud funny through script and character choices. Frenetic and authentic, a lovely interpretation that had the audience on her side throughout.  

A good performance was put in by Paul Rendel as Rod and Helen Blythe with an ever-present smirk, was suitably sanctimonious as Marie. Janice Rendel, as two very different personalities, Brenda, and Lady Cravenshire, allowed this character actress to adeptly add some fervour and comic relief to carefully placed and written appearances.

Cora performed by Alison Gould was likable and added the motherhood voice to the group and Jane Philpott was fittingly flirtatious as Celia. There was a nice cameo in the shape of Andrea Sutcliffe playing “the other woman” type, Elaine, a solid and comical turn.

Lawrence, the shy photographer tasked with capturing these ladies on film was played wonderfully by Phil Callaghan. He put across an aimable character with great believable moments of genuine discomfort and genuine respect for the ladies. This contrasted nicely with Phil’s rendition of the cocky Liam in the second act, self-assured with an arrogant swagger. Great energy in both parts, well done.

The direction was in the capable hands of Martyn Preston, who moulded the piece beautifully in the intimate space. The feeling of the passing of time, the design and the weight given to pivotal moments (relationships etc) balanced well with this director’s handle of comedy. I particularly liked the shrewd choice to seek out typical Women’s Institute style songs for the transitions, but that have been adapted and reworked – mirroring the storyline as a whole – the WI Calendar concept, but done differently, a twist, same but different, modernised. Clever!

The whole cast executed comedy and timing brilliantly, as well as the poignancy and gravitas of the storyline and the camaraderie between the women was palpable, reflecting, no doubt, the solidarity of the real-life women they were depicting. A great production, well done!

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