Calamity Jane

Theatre Royal Brighton

until Saturday 5th April

Director: Nikolai Foster
Original Music: Sammy Fain and Paul Francis Webster
A Watermill Production

In 1953, Doris Day starred as the feisty, fearless and loveable Calamity Jane, in David Butler’s film of the same name. Based on the tales of Martha Jane Canary and her alleged love, Wild Bill Hickok, the film has remained a much-loved classic, with tunes such as ‘Secret Love’ and ‘The Windy City’, still adored today. Nikolai Foster’s revival of his 2014 production, follows Calamity on her adventures in Deadwood, South Dakota, and beyond, helping her friends, falling in love, and getting into some wild gun fights along the way.

The Theatre Royal Brighton was transported to 1870s Deadwood, South Dakota, where Matthew Wright’s set brought the Old West to life. Wooden beams and log-cabin inspired walls, created the Golden Garter Saloon, and a small, music-hall stage filled the back. Details such as lamp-lights, an antler chandelier and blue, red and white bunting, also reminded us of the nature and political landscape of the time we were entering.

As the opening chords to ‘Deadwood Stage’ play, the audience could contain their excitement no longer, particularly as the leading lady, Carrie Hope Fletcher, appears as Calamity. Fletcher’s vocals are powerful, gritty and clear, especially in her moving rendition of ‘Secret Love’. Fletcher doesn’t try to replicate Day’s performance, but creates her own Calamity; showcasing a more understated attitude, vulnerability and tenderness, although there were times where Fletcher could have played with more wildness in the character.

Samuel Holmes was another stand-out as the hilariously awkward Francis Fryer, a performer brought to Deadwood under the impression he was an actress. Whilst a rather secondary character in the film, Charles K Freeman’s script adaption from James O’Hanlon’s screenplay, gives Fryer a larger role. Holmes’s performance of ‘Hive Full of Honey’, was a laugh-out-loud joy, reminiscent of old music-hall acts, and his scenes with love interest Susan (niece of Golden Garter owner Henry Miller, and played excellently by Hollie Cassar), were arguably the most clear and engaging depictions of a love story, throughout. Wild Bill Hickok, a domineering, gun-fighting soldier, was played by Vinny Coyle. Coyle’s vocals were impressive but he lacked a necessary grit to showcase Hickok’s traits.

A highlight of Calamity Jane is the music, and whilst the songs are sign-posts of the story for familiar audiences, the narrative itself is lost in the script, such as Calamity’s crush on Lieutenant Danny Gilmartin, played by Luke Wilson, which was void of any substance and rather neglected in direction. The use of actor-musicians in this production is a main difference from the film; in some ways it works well, adding to the atmosphere and liveliness of the Golden Garter, but with most actors on stage focused on playing multiple instruments, it started to feel rather unnecessary, detracting from any form of characterisation or authenticity.

It’s a big feat to stage a production of such a loved and well-known film, but with so many classic songs, it’s hard not to go away singing and being tempted to tell a barman, ‘make mine a sarsaparilla’. Calamity Jane will be a whip-cracking its way to Norwich next, and continuing its UK tour until 27th of September.

Reviewer: Lily Sitzia