Adaptor for stage: Charles K. Freeman
Director: Nikolai Foster
Co-Director/Choreographer: Nick Winston
Inspired by the 1953 Doris Day movie of the same name, Calamity Jane premiered as a stage musical back in 1961. Afficionados – of whom there are many – may well have seen both, as did your reviewer. Is this present-day adaptation up to scratch a decade from its conception? And does it cut the mustard with first-timers among the audience?
A packed audience on the first night in Cardiff gave it a standing ovation (although I query whether or not the before curtain up Prologue delivered by a grizzled banjo playing character is really necessary). Reworked to bring it relevant to today, this production is now well into its tour and is, for the most part, a foot-tapping pleasure. There is a caveat – in keeping with present day issues there have been several cuts and adjustments, and while some may feel these are necessary there are others who would prefer these to be kept in situ. Any mention of the native Indians who would have been around at the time is apparently non gratis ! Notwithstanding this, Calamity Jane is overall a feel-good show, one to be enjoyed without too much soul-searching. There are, of course, the ups and downs in the boy meets girl plot customary in most pieces of musical theatre.
The musical retains its storyline – loosely based on a true story, Calamity Jane is set in the backwoods of Dakota, where sharpshooter and big-mouth Calamity (Carrie Hope-Fletcher) falls for a dashing cavalry officer, while sparring with her Dakota teammate Wild Bill Hickok (Vinny Coyle) Coyle copes well with the role, as does Luke Wilson as the lovable Cavalry officer Danny Gilmartin, struggling to understand just what is going on as events descend into chaos in the second half after Calamity has ventured out of Deadwood to bring back legendary actress Adelaide Adams, and has gone to Chicago to bring her back to Deadwood. Unfortunately a case of mistaken identity means that instead of the big-name actress Calamity has brought back the star’s maid Katie Brown – a nice portrayal by National Youth Music Theatre -trained Seren Sandham-Davies.
Throughout, it is songs such as the opening number The Deadwood Stage, reprised in the second half, and the haunting Love you Dearly that make this musical, with the actor musicians on stage throughout and the energetic footwork displayed by the cast topped by a great Hoe Down at the finish. Skilful choreography by co-director Nick Winston and great footwork throughout. The clever use of Matthew Wright’s sepia toned set, with its clever use of a stage within a stage and minimal props, works well, as do costumes also designed by Wright.
Overall a good evening, not to be taken too seriously. Sit back and enjoy.
Runs at the Wales Millennium Centre, Cardiff until Saturday, March, March 11th, then touring until September 2025.
The Reviews Hub Score
Feel-Good
