WMOS

REVIEWS

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HAMPSHIRE CHRONICLE

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The nation’s affection for that intrepid group of ladies who, in 2000, elected to produce a calendar with a difference – with results more spectacular than any of them could possibly have imagined – has, over the years, become palpable to the extent that they seem to have been with us for far longer than just a couple of decades.

 

Their story inspired a hugely successful film in 2003 (who could ever forget that elegant image of Helen Mirren and Julie Walters, and the mischievous tag-line “Some ladies will do anything for a good cause”?), and in 2008 a wildly popular stage play. When Tim Firth, author of the play, teamed up with Gary Barlow to fashion the piece into a stage musical, there were those who wondered whether this new medium would capture the public imagination to similar extent.

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Last Wednesday’s opening performance played to a virtually full house, and I suspect that once word gets round, tickets will have been in short supply. Having seen the film, the play and the original production of the musical, I’m as captivated by this true story as ever I was, and so looked forward eagerly to seeing how the newly-revised version would compare.

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WMOS have been a major part of the city’s cultural life-blood since 1913, and this week’s production is an ongoing indication as to why they remain so. Seldom have I witnessed an audience respond so immediately, and with such affection, as did Wednesday night’s; and I’d also like to go on record as saying that I truly can’t remember the last time I spent such a joyous, life-enhancing evening at the Theatre Royal.

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The singing – solo and company – is heart-lifting throughout, the superbly delivered laughs (too many to count) land with full force and the poignancy of the piece is brought out through the exquisite direction of Olivia Conroy, and the uniformly first-class acting from the company. Again, it was very clear – and I’d like to think that the company felt this, too – that the audience were completely engrossed throughout, and the frequent concentrated silences were palpable.

Above all, this is a deeply heartfelt and loving musical, and becomes, extraordinarily, an additional love-match between stage and auditorium. We live through the characters’ joys and heartbreaks with them, and our affection only increases as the time approaches for the ladies to undergo the photographic session that will change their lives, and the lives of everyone around them.

And this, amazingly, is where Theatre and Reality become one as we, the audience, experience at first-hand their initial apprehension, and share their utter elation as they find the courage to …..well, you know! And if you don’t know, and have somehow not experienced this story before, you’re in for a surprise – or rather a series of surprises – that you’re unlikely ever to forget.

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There’s a lovely speech in the first act that speaks of the Sunflowers and the Women of Yorkshire, and it becomes triumphantly evident before our eyes. These ladies are gallant and brave, empowering and beautiful, and we love them for it. And I’m speaking as much of the cast as of the real-life characters they portray. When, at the end of the show, the entire audience stood and cheered the company to the rafters, I think we all realised that this had been one very special Shared Experience. It doesn’t always happen, but when it does, it reminds us of the Power of Theatre at its most joyful. Do go and see this wonderful company in full flight. It’s a rich, enriching evening, filled with laughter and humanity.

Oh, and if you’re anywhere near as susceptible as me, you might be advised to take the Kleenex. 

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Mark Ponsford

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NODA

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Having seen the film and also recently attended the stage show for Calendar Girls, it was interesting to see the different styles of approach to this very well known story, based on the true happenings at Rylestone and District WI in 2000 to raise money to buy a sofa for the relatives' room at the local hospital.

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Warmly greeted, as I always am, by the front of house we took our seats and settled in for what we hoped would be a good evening. We were not to be disappointed. The Theatre Royal in Winchester is a traditional old Victorian theatre with the ability to fly. The set, based in Rural Yorkshire was well laid out with good spaces to allow the cast to move around well, it also meant that when the scene changes occured there was plenty of room, the backstage crew led by Angie Barkes were swift and kept the down time to a minimum. This coupled with inventive reversable flats and truck went very smoothly. The lighting was very effective and lent itself very well to add to the mood changes. Sound was good, the words both spoken and sung were easy to hear, so despite knowing the story, you could follow the action easily.

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The performances from all the principals was of a very high standard. Diction, expressions, accents, attitude and emotions were all brillianty delivered by all and made this both very funny and very emotional. Very moving. The band led by Alison Benton were of a very high professional standard and the obvious work by her during the rehearsal period with the cast meant that all married up very well.

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The show was directed by Olivia Conroy, this was her debut, but you would never know. The cast all knew where they were supposed to be, and when, none of them looked unsure and their diction, as with the principles was clear, unhurried and confident.

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The principles, all of them (but especially the ladies) were superb. This is a very brave piece to undertake, especially given the subject matter and the calendar photoshoot scene was so very funny, and very tastefully done. No shrinking violets are the Winchester ladies. All brought their own individuality to each role. So, and in no particular order, Rachel Wells, Katie Hickson, Katharine Stothert, Liz Petley-Jones, Katie Jacobs and Suzanne Hall, bravo to all of you. A job brilliantly well done. Guys, you did well too!

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I am always amazed at the standard of shows that Winchester Musical and Opera Society produce. This show was no exception. Myself and the audience were brilliantly entertained. Thank you. See you for Priscilla in May.

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Mark Allen

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WINCHESTER TODAY

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Putting the ‘good’ in ‘feelgood’

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There’s a bit of a theme going here: for the second time this week my theatrical outings have featured a group of unlikely northern folk getting their kit off for a good cause. In fact, when Calendar Girls, the film starring Julie Walters, Helen Mirren, John Alderton and company first appeared on the big screen in 2003, it was compared very favourably by the critics to another low budget but hugely successful film, The Full Monty. Like that film (and subsequent stage show), Calendar Girls has become a perennial favourite with theatre companies and goers, both professional and non-professional. It is so quintessentially English, is based on a heart-warming real story, is funny, sad, and of course it has a happy ending.

Like many shows that have been doing the big venues for a long time it has spawned a musical version, still penned by Tim Firth, as were both film and play, but with specially written musical numbers by Gary Barlow. Whether you like the numbers or not – they are not the easiest of songs to listen to or, I’m sure, to sing as they involve a lot of cross-singing/talking and unusual rhythms and melodies – is a matter of personal taste. But despite being some way off the more incidental music featured in the film (mainly by Patrick Doyle), they sort of suit the show in a quirky sort of way and they don’t detract from the essence of the show.

So, Calendar Girls – The Musical, is a perfect fit for WMOS who are not afraid to try out different genres and to push the boundaries. Following in the footsteps of shows like Made in Dagenham, Billy, Jekyll & Hyde and Sweeney Todd, this bittersweet musical version of Calendar Girls is faithful to its origins and provides a fantastic vehicle for the predominantly female members of the company to shine.

The plot, which I’m sure you all know, is straightforward: Annie Clarke and Chris Harper, two good friends are members of the local WI in Knapely, a small village in the Yorkshire Dales. When Annie’s popular husband John dies of a terminal blood cancer, they come up with an idea to raise enough money to buy a new sofa for the family room in the hospital where John was treated. Inspired by a ‘girlie’ calendar Chris has seen, the idea is to do a nude calendar featuring them and other members of the WI group. This idea meets with scepticism from most and a definite thumbs down from Marie, the chairwoman, so they appeal directly to the national congress of the WI in London.

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The rest, as they say, is history. They not only overcome their own individual fears, sort out some relationships that have gone off the rails on the way, bare all (but in very good taste, hidden behind a variety of currant buns, malt loaf and sunflowers) and raise not just enough money for a sofa but a whole new hospital wing to be named after John. The true story is no less impressive and worth looking up.

WMOS’s take on Calendar Girls is, as to be expected, full of energy, top notch acting and singing, inclusivity and faithfulness to the script and score. The principal six ladies are not only fine actresses with good voices but work together as a well-choreographed team. And they’re brave too, because they’re no youngsters and taking one’s clothes off on stage demands a rather special kind of person with a huge amount of courage.

Rachel Wells as Annie is outstanding – she displays a gambit of emotions that is really impressive: one minute happy as a lark, the next sobbing her eyes out and all the while acting and singing her way through the show with total confidence and conviction. The others are no less accomplished, and each has their moment to shine; they all have a solo number and there are some very fine voices amongst them. Katie Hickson as Chris is equally wonderful as she copes with her past, wanting to do the right thing by her son, pushing the others into submission and proving a real friend to Annie; Katharine Stothert as Cora, the vicar’s daughter and unlikely organist of the parish, debuts at WMOS and her red hair and offbeat demeanour nicely balance with Liz Pertley-Jones’ delightful presentation of Jessie, (the ex-teacher and least likely of the bunch to be featured in a nude calendar).

Liz’s rendition of her solo ‘What Age Expects’ is particularly endearing. Celia, the ex-air hostess who has ‘had her baggage allowance increased’ and is proud of it, is played with gusto and sensual enthusiasm by Katie Jacobs, last seen (by me anyway) playing in Toad as, if I recall, a particularly sassy Mrs Otter. Last but by no means least is the hugely talented Suzanne Hall who plays the troubled Ruth, who appears to be the perfect WI cake/scone maker but has a skeleton in the cupboard in the form of vodka. Suzanne’s perfectly executed solo of ‘My Russian Friend And I’ proves that she is not just a good director, choreographer, and drama teacher, she can really come up with the goods on stage too.

The principal cast is supported by many a familiar face to WMOS officionados, notably Rob Preston as the ever present, lovable Yorkshireman John; Daniel Williams as young Danny, Chris’s son who thinks he must choose between being head boy and going out with Jenny, the rebellious daughter of Marie (played sublimely by Molly Moffitt-McGrath). Daniel’s teenage facial expressions are perfect for the part; and Henry Masterson-Cox plays another ‘teenager’, fixated by the voluptuous Celia.

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There is no weak link in the whole ensemble, and the staging and direction by Olivia Conroy (making her debut as director but no stranger to the WMOS/TRW stage) is perfectly matched by newcomer Alison Benton as Musical Director, aided by a four piece band (which sounds more like 24 pieces).

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The set is simple and effectively depicts a Yorkshire landscape with rolling patchwork hills, five bar gate and dry-stone wall. Fly in a few set accessories like village hall windows/roof trusses, turn round a section of wall to depict playgroup stuff, wheel in the upright piano and hey presto, it’s the WI meeting place, complete with village hall chairs. Wheel in one reversible flat and you have the hospital waiting room or Chris’s florist shop.

The chorus numbers are especially uplifting, both visually and audibly. After a slightly hesitant start, the first chorus number with the whole company singing their hearts out about Yorkshire and from then on the pace improves and the second half in particular romps along at a cracking pace. One or two sound balance issues with the multiple radio mics seemed to settle down by the interval too, although for the likes of me with slightly dodgy hearing it’s sometimes a struggle to hear every word clearly, especially when the cast are speaking and the band are playing at the same time.

Contrast WOMS’s stage productions with the more traditional summer outdoors offerings like HMS Pinafore and Pirates of Penzance and you have the perfect balance, offering something for everyone throughout the year. Their choice of shows is always interesting and popular, which is presumably why last night’s performance was a sell-out and the tickets that remain are few. So, if you hurry, you might just get to see WMOS in their rightful position – on the top of their game.

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And in this instance, putting the ‘good’ in ‘feelgood’.

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David Cradduck