CALAMITY JANE- NODA REPORT

Calamity Jane’ is a popular choice for many amateur theatrical societies and contains some of the best show songs ever written and the comprehensive background of the life of Calamity Jane as given in your programme left no-one in any doubt as to the type of life she led.

Howard Chapman conducted the orchestra in a beautifully played overture, and apart from the underscored dialogue in which the brass section was a little too loud, controlled the music superbly throughout. The musical has a number of songs involving the chorus and their singing was of good quality and volume.

The Stage Productions and Splash sets provided a good representation of the types of building that probably existed at that time and the props and furniture were suitable. Those used to transform Calamity’s cabin were well chosen and I loved the growing flowers and rising cakes!

In the title role Connie Law was tough and strutting and yet very endearing and she put over the singing numbers in true Calamity style. She adopted a rougher tone to stress her masculinity, which occasionally made it a little more difficult to hear her dialogue although her accent was faultless.  The contrast in her height and Bill Hickock’s added to the comedy, especially when she was trying to fight with him and couldn’t get anywhere near him.

Mike Davenport made a confident Bill and his singing was super. He brought out the comedy well and has good timing but perhaps he was a little mature to be matched with Calamity. He led the men strongly in ‘Adelaide’ and ‘Higher than a Hawk’ and ‘Secret Love’ were particularly good.

Francis Fryer is not an easy part to play as the actor must look reasonable as a female, and sing as both male and female but Nigel Smith managed it successfully. His ‘Hive Full Of Honey’ song was great.

I didn’t spot Aileen Smith’s male impersonation as she was so utterly convincing. Her whole demeanour was masculine and a complete contrast to Adelaide. In that role she was most assured as the conceited star whom all the men admired and she toyed delightedly with them as she sang ‘Harry’.

Her timid dresser Katie Brown, played splendidly by Amanda Lapping, was transformed into a confident singer with her own band of admirers and two suitors, and Amanda’s singing was very good.

It was not easy to see why both girls would fall for Lieutenant Danny Gilmartin as Nick Gething was just not dashing enough in the role. Although he did his best with the part his acting and singing were not quite up to the standard of the other leads. He possibly would have benefited from more direction.

Clive Walker made an apt Henry Miller, the pessimistic owner of the Golden Garter, and Jo-Maree Courtney gave a secure performance as Susan. The other parts were filled with enthusiasm by the rest of the cast and the show was lively and colourful.

Lynne James’s choreography was most enjoyable and the cast was well rehearsed in the movement. I liked ‘Windy City’ and the Can-Can was good although not quite authentic. The skirts should be moved from side to side, not up and down so that we saw more of their not quite big enough black knickers, and black straps would have matched their black shoes better than white ones.

The costumes were good although Bill should have worn black shoes when he was at the ball. Make-up was fine and the sound and lighting were good. Director Heather Legat used the cast effectively and the crowd scenes were attractively grouped. The opening was good and the finale ended an enjoyable evening’s entertainment. The gun shots all happened at the right time and there was lots of business going on during the main action.

Your unusual sized programme is an attractive one and the cast nicknames are a novel touch.

Thank you for inviting me to see ‘Calamity Jane’ and for the hospitality shown to me on the evening. It was good to meet with some of the members in the interval. I wish John well with his operation and Jo-Maree with her impending motherhood.

E. Gloria Smith, NODA Representative – Region 12