Tickets were gifted in return for an honest review
The 1953 film Calamity Jane is known for its quick pacing and catchy tunes. Doris Day’s romcom Western had an irresistible rhythm, whilst this stage adaptation by co-directors Nikolai Foster and Nick Winston fails to land that same impact.
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| Photo by Mark Senior. |
Foster's original production was first staged in 2014 in the intimate surroundings of The Watermill Theatre. Upscaling that production for larger venues is no easy task, but the team does an admirable job. Matthew Wright's sepia-toned design roots us in the West with wooden buildings. Visually, it looks impressive throughout, with tonal lighting by Tim Mitchell helping create a strong ambiance.
The people of Deadwood in this actor-musician production feel like it would have benefited more in the intimate surroundings. It feels, at times, a little void as you see the actors prepare for their next musical moment. It all sounds glorious, and the richly talented company never fails to elevate the music, but it struggles to find a way to fit them into the staging.
What the production fails to do is lift the material. At times, it feels as if things are going through the motions. A means of getting from A to B rather than doing something to elevate things. It does well to largely steer clear of any outdated points that the film may have, although the production seems conflicted about its handling of the Wild West and 1950s gender norms.
In the titular role is an impressive Carrie Hope Fletcher. She does a great job with the role and commands the stage with a real gutsy feeling. Fletcher handles the character with great skill. Making it her own rather than just playing it as Doris Day did.
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| Carrie Hope Fletcher as Calamity Jane. Photo by Mark Senior |
Calamity's most compelling relationship does not stem from her back-and-forth with Wild Bill Hickok or her unfulfilled crush on a lieutenant. Instead, it is her growing bond with Katie Brown (played superbly by a bright Seren Sandham-Davies), the aspiring singer posing as a big star. A strong duet, 'A Woman's Touch', is the musical highlight of the evening.
Vinny Coyle never reaches full potential with Wild Bill Hickock. He doesn't quite have the presence that is created by Howard Keel in the screen version. Whilst vocally he is good, his big solo 'Higher Than A Hawk' at the top of Act Two doesn't make a strong impact. Luke Wilson does fair a little better as Danny Gilmartin, but the character doesn't have the material that gives him much to work with.
Samuel Holmes does a great job of mining some big laughs from his role as Francis Fryer, whilst Molly-Grace Cutler gives a great cameo as Adelaid Adams. Her vocals in this sultry, playful number as as strong as any throughout the show. Richard Lock mines every bit of joy from Rattlesnake.
Ultimately, this is a production that ends up being perfectly fine whilst never reaching its full potential. Winston adds lively choreography that is at its best during the second act's 'Hoedown'. There are glimmers of potential and moments that almost ignite, but for the most part, it feels like it hasn’t quite left first gear, leaving much of the story still to be explored. It serves as a great reminder of the beloved film, whilst never wowing in a way that it could. It's perfectly enjoyable but isn't as sharp-shooting as its titular character.
⭐⭐⭐
Calamity Jane plays at Nottingham's Theatre Royal until Saturday 29th March. Limited tickets remain available from https://trch.co.uk/whats-on/calamity-jane/
The tour continues until Saturday 27th September, where it closes at the Bristol Hippodrome. Visit https://calamityjanemusical.com/ for the full tour dates and venues.
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| The cast of Calamity Jane. Photo by Mark Senior |
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