Writer: Tim Firth
Director: Sally Hughes
The ladies of Knapely’s Women’s Institute are undoubtedly the most famous WI members in the organisation’s history. In the late 90’s their annual fundraising calendar became such a sensation that they ended up overnight celebrities. Their story took the nation by storm, becoming a major feature film, a West End play and even a musical.
The story follows Knapely’s WI ladies who, following the death of fellow member Annie’s (Natalie Ogle) husband, decide to use the proceeds of their annual calendar sale to buy a memorial sofa for the hospital where he passed away. Unfortunately, their previous calendars, featuring amateur photographs of local churches and landscapes, rarely set the tills alight and are unlikely to drive enough sales to buy the settee. In a moment of creative inspiration her friend Chris (Rachel Fielding) comes up with the madcap idea of doing a calendar of their members undertaking WI activities, like gardening, baking, and knitting… but in the nude!
What follows is a gentle comedy of manners that pokes fun at the pomposity of hierarchical institutions and looks at the inherent cloud of shame and decency that we’re all under in our day-to-day lives. As the ladies initially dismiss the idea, then warm to it and ultimately proceed, they confront their own individual issues and desires.
Chris is an inherent fame-seeker, putting her family’s business at risk just for her moment in the spotlight. Shy Ruth (Ciara Janson) is emotionally hiding from an unhealthy relationship, Cora (Debbi Arnold) is coming to terms with her rebellious nature, finding resolution parts of her life. Whilst the resulting burst of fame from their calendar delivers collective success, the process of having their photos taken gives each an individual success story, providing them with the confidence they need to address their own shadows.
This production is bright, vibrant, and jolly retelling. Terry Parson’s set design perfectly places you in the village hall and countryside and Sally Hughes directs with a light and energetic touch. The show isn’t without flaws, but they’re relatively inconsequential. The first part of the story, leading up to the photos being taken, feels a bit overlong, a bit too much exposition for very little longer-term payoff.
The core cast’s performances are enthusiastic if a bit exaggerated; Janson feels a bit too twee as the downtrodden Ruth, but Sarah Whitlock really shines as the cheeky and slightly naughty Jessie. The remaining cast delivers perfectly acceptable and convincing performances that keep the story moving ahead without issue.
Overall, this production is played for laughs, and it delivers on that. This is a rose-tinted look at village life, generally pleasant, bright and sunny. It does the original ladies proud and has enough laughs and cheekiness to keep the audience perfectly happy.
Runs until 1 June 2024. All tickets include a 2-course meal.