CALAMITY JANE

Photo: Mark Senior

Calamity Jane started life, not on stage but in a 1953 Doris Day movie, a hugely successful vehicle (stagecoach) for a hugely successful Hollywood star and the stage version did not appear until 1961. At that point six songs not in the film were added, some excellent and… well some not as impressive as the original film score. It’s an interesting piece and one that given the somewhat dubious gender politics of the yarn, might easily be cancelled in today’s cultural climate.

Thank the lord that it has not, take it all as a period piece displaying historical values – and as far as I am concerned it has plenty going for it. And thank heavens that in this production no attempt has been made to sanitise the misogyny that pervades the whole, only to be redeemed in part by the eventual outcome when Jane gets her man.

Photo: Mark Senior

The production is cleverly designed and dressed by Matthew Wright, very traditional and rightly so, the story simply would not sit comfortably in any other period or setting. And the cast of actor musicians are excellent, strong players in every sense. The choreography too works well with plenty of “Ho” going “Down”.

Photo: Mark Senior

The songs of course are familiar but what we get is a full on orchestration of those songs. Actor musicians can deliver a lush sound compared to modern pit orchestras where in recent years musician numbers have become so depleted and augmented by synthesised orchestral sounds. This was luscious and those gorgeous ballads and romping numbers were deservedly well served up.

Photo: Mark Senior

Star of the show has to be Jane but this was no calamity, Carrie Hope Fletcher is wonderfully brash as the tom boy star, all bluff and bluster. And when it comes to delivering those songs she nails it, perfect, powerful and with exemplary diction. Plenty can belt out a song but can you hear the words? All too often the answer is no.

Photo: Mark Senior

The rest of the principals are equally good too, Vinny Coyle is an excellent Wild Bill Hickock another fine voice and played with sinister charm. Seren Sandham-Davies is a delight as Katie Brown and again a fine voice delivered with such clarity that not one lyric is wasted. Samuel Holmes really stands out as Francis Fryer, light on his feet, and the best comic performance of the evening. I was initially amused by Richard Lock’s grungy and gurning Rattlesnake but by the end his constant presence jarred. Not I hasten to say his fault, but one of direction.

And finally I come to the direction which for much of the show works well enough. And here is my caveat. From my front stalls seat some of the blocking is simply shocking. Lining up the cast, backs to the audience in chairs to watch Adelaide Adams perform was a disaster. We simply could not see that part of the show. Maybe from further back where the seats are raked or from the circle and balcony you would have a view, but not for us. And it was a device repeated throughout the show that spoiled our enjoyment of the whole.

All that said this is a fun evening of classic musical theatre that sends you home smiling and singing the songs, and there are few modern musicals that can claim to do that.

Andrew Kay

Theatre Royal Brighton

1 April

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