CALAMITY JANE. CURVE LEICESTER
Calamity Jane is riding high once again, currently touring the UK and Ireland in a revival of the Watermill Theatre’s much-loved 2014 production. Directed by Curve’s Artistic Director, Nikolai Foster and co-directed and choreographed by Nick Winston, this show is a toe-tapping, heart-thumping, crowd-pleasing treat, based on the beloved 1953 Doris Day movie.
At the centre of the action is the fearless, fast-talking, gun-slinging Calamity Jane – “the biggest mouth in Dakota territory” – played with verve, warmth and wild-west swagger by Carrie Hope Fletcher. It’s a pitch-perfect casting. Fletcher delivers a gutsy, heartfelt performance that captures both the tough-as-boots bravado and tender vulnerability of this iconic character. Her rich vocals shine throughout, but it’s her rendition of ‘Secret Love’ in act two that truly soars.
Calamity might be tough, but she’s not immune to a little romantic confusion. As she throws barbed insults at the brooding Wild Bill Hickok (played by a coolly charismatic Vinny Coyle) and tries to win over the dashing Lieutenant Daniel Gilmartin, her tangled feelings start to bubble to the surface. Fletcher and Coyle spar with easy chemistry, building a slow-burn connection that gives heart to the story.
Adding a splash of panto-style fun is Samuel Holmes as Francis Fryer. His comic timing and fabulously camp performance bring a touch of slapstick and a whole lot of charm – it’s hard not to laugh as he steals scenes with cross-dressing antics and musical mishaps.
A key thread in the story is the arrival of Chicago stage star Adelaide Adams – or rather, her stand-in. When the townsfolk of Deadwood mistakenly believe they’re getting the real deal, aspiring performer Katie Brown (played with optimism and sincerity by Seren Sandham-Davies) is thrust into the spotlight. It’s a storyline that brings heart, humour, and a hint of backstage satire as Katie learns to find her voice and Calamity grapples with unexpected jealousy. Their evolving friendship becomes a grounding emotional arc, highlighting both women’s resilience and their search for identity in a world that wants to box them in. Sandham-Davies has a crystal clear voice that blends beautifully into the ensemble numbers.
The actor-musician cast is a joy to watch. Not only do they play a dazzling array of instruments live on stage, but they’re also integral to the storytelling, fluidly switching between characters, choreography, and scene changes. Winston’s choreography makes the most of their talents, bringing high energy to the dance numbers while ensuring the transitions are seamless and full of life.
Matthew Wright’s set design is cleverly done – practical but full of texture and atmosphere. From Deadwood to Chicago, it evokes the dusty frontier and backstage bustle with flair, and the cast themselves often become part of the scenery, adding a layer of dynamism to the staging.
This production doesn’t try to radically reinvent Calamity Jane – and nor does it need to. It’s a loving, traditional retelling that delivers all the thigh-slapping fun, cheeky humour and big-hearted romance that fans of the film will be hoping for. With its catchy songs (The Black Hills of Dakota, Just Blew In From the Windy City, A Woman’s Touch – go on, sing along you know you want to) and whip-smart performances, it’s an irresistible ride into the wild west.
If you’re after a feel-good, fun-filled night out, complete with cowboy boots, a barroom brawl or two, and some stellar musical moments, Calamity Jane hits the target bang-on. A crowd-pleasing revival that’s full of charm, heart and hoedown spirit. On at Curve until Saturday 12th July, then touring http://www.calamityjanemusical.com
