THE STORY of the Calendar Girls has had several incarnations, from documentaries to TV, film and a stage play – this BMOS production being the musical version by Gary Barlow and Tim Firth.
It’s based on the true story of a group of the Rylstone in Yorkshire Women’s Institute members, who created a nude calendar to raise money for a new sofa in the hospital ward where the late husband of one of their own was treated.
The story follows their bonds of, love, friendship, determination and spirit.
Act one is a mix of scene-setting vignettes which features a bevy of comedic moments from Knapely WI meetings.
This is mixed with heart-wrenching passages as we follow one of the members, Annie and her very popular husband John as he goes from a happy, robust life to sad death from leukaemia.
Nick Owen-Ford totally captures the heart and soul of John from the first time we see him opening the show singing ‘Yorkshire;’ with his broad smile and stoic nature staying with him to his painful end. Owen-Ford’s performance is matched and complimented by Michelle Worthington as his wife Annie. Her ‘Scarborough’ is one of the show’s vocal highlights.
Act two is less vignette and more seamless and it’s where the story really becomes compelling as the WI rebels get behind Annie’s best chum Chris’s idea to get their kit off for a calendar (in outrageous contrast to the usual pastoral Yorkshire snaps).
The famous ‘nude-shoot’ scene when the ladies, fortified by more than a little alcohol, finally pose for the photographer is hilarious and brilliantly choreographed so we never quite see more than we should. The audience cheered every removal of a dressing gown – every reveal of naked flesh – not in leery way, but full of support for the sentiments of the production that women’s bodies should be celebrated whatever their shape and age – and it’s never too late to defy convention and push your own boundaries to the limits.
Jo Smith puts in a strong and minxy performance as Chris the calendar pin-up creator – Sarah Russell is a joyous riot as Cora, Sarah Morris makes a delightful deb-like Celia and Catherine Louise Ruff and Maria Raymond are more tasty jam than hard-core Jerusalem as Marie and Ruth.
Special shout outs to Jaz Davison as Jessie, who really fly’s a flag for all ‘young at heart’ crumblies and for me, delivering the best number of the night ‘What Age Expects’. I found her Yorkshire with an American twang quite endearing. Also high praise to the talented Pat Dixon-Dale in her gorgeous cameo as Lady Cravenshire.
There are two lovely laugh-out-loud performances from Charlie Pugh as Danny and Jessica Smith as Jenny – the young off-spring of the WI ladies as they fumble their way through first loves and deal with the embarrassment of their mums getting naked.
I’ve singled out a few actors but in fairness there isn’t a weak link in the whole company – they combine beautifully to make the community spirit of a rural village sparkle.
There is some creative choreography from Lauren Shirley, excellent musical direction from Callum Thompson and the show is directed by the seasoned Stephen Duckham.
Barlow’s song lyrics are witty, and I applaud the articulation that meant we heard every word, however for me the score lacks memorable numbers. I came out not humming but rather thinking what a good job BMOS had made of it.
The show runs at the Crescent Theatre in Birmingham until Saturday, November 29. Click here for times, tickets and more information.
