The true story as told in Calendar Girls the Musical is now so firmly a part of British culture it is almost as well known as the Women’s Institute from which the tale comes and, just like one of the prized cakes in a WI competition, this musical has all the right ingredients – love, loss, friendship, community, humour and a hugely uplifting message.
It’s a story about ordinary people doing extraordinary things, and writers, Tim Firth (who wrote both the film and stage play) and Gary Barlow, tug on the heartstrings by referencing everyday things everyone can relate to, from buying margarine in the supermarket to folding up duvets. Add to this Gary Barlow’s tunes which, although not well known, are catchy enough to sound strangely familiar and have the audience fighting back tears of sadness in one moment and, in the next, letting them flow with laughter.
The Women’s Institute group is made up of ladies who have been friends for years. They bake, knit, and have competitions to make some very dodgy craft items. Gary McCann’s design draws us into this “green and pleasant land” of rolling hills and sunsets, which form the backdrop to a huge set of the inside of the village hall. It’s a picture postcard setting where life is comfortable, or at least from the outside it all looks that way. But, as the story progresses, we get a glimpse into the lives of each of the women. Seeing the private battles they each face makes the much heralded, naked finale feel even more triumphant.
At the centre of the tale is Annie, whose husband is diagnosed with cancer. Victoria Hay (standing in for the indisposed Laurie Brett) is simply superb in this role, carrying the audience along on her harrowing journey from the outset. Her warm personality and strong vocals capture the massive range of emotions she feels during the show and it’s possible to hear a pin drop during her heart-breaking number, Kilimanjaro.
The rest of the cast work tirelessly throughout the show. Helen Pearson and Liz Carney happily send themselves up as Celia and Marie, perfect comedy characters. Lyn Paul delivers the ultimate showstopper with Jessie’s solo, What Age Expects, Maureen Nolan shines with a classic performance as nervous Ruth (a little too fond of her “Russian friend”) and Honeysuckle Weeks reveals all as the vicar’s daughter and single mum, Cora.
Samantha Seager gives a powerful but fun performance as Annie’s friend, Chris, who comes up with the idea of the group doing a nude calendar to raise money for a comfortable settee for the family room at the hospital where Annie’s husband John (Colin R Campbell) was treated. At the time the WI doing anything so risqué was unthinkable and, even today, the Britishness of it all, hiding their “bits” with knitting, cakes and floral displays, as Rod (Andrew Tuton) takes the photos, is still hilarious. All too soon we are at the finale, and what a finale it is. A real cracker!
As we leave the theatre, we realise that this incredible tale has lifted everyone so high we almost float out of the doors. An incredible tale, told by a superb cast, in a very enjoyable musical.
**** Four Stars