Calamity Jane - musical review

Taking the stage by storm, Calamity Jane is bringing the tales of the Wild West to a theatre near you. With guns loaded and boots on, there's no stopping her.

Based on the classic Doris Day movie of the same name, which loosely follows the historical figure that has become ingrained in our depictions of the time period, the fearless sharpshooter with the loudest mouth in town shows the people of Deadwood how to be respected, feisty and unconventional, often all at once. That is, unless you are a pretty-looking Lieutenant who can melt even the most stubborn hearts. Calamity by name and perhaps frequently by nature, too, is played by renowned lead Carrie Hope Fletcher. Posing a spontaneously rocky relationship of bitter yet playful love and loathing - portrayed precisely through 'I Can Do Without You' - Bill Hickcok (Vinny Coyle) acts as her counterpart, twisting their mutually complicated feelings in an undertone throughout the script.

The first act is undoubtedly stronger than the second. Delving into the ins and outs of Dakota, the men surrounding the Deadwood stage have high expectations for the source of bar entertainment they will receive. When Henry Miller (Peter Peverley) makes an honest mistake in this, and Francis Fryer appears (Samuel Holmes), Calamity promises huge things through her elaborate storytelling - are these too big for even the most dominant one in town?

Gender stereotypes are a consistent trope throughout the piece, being that 'Calam' would much rather clothe for comfort than in dresses like desirable 'real women'. When Katie Brown (Seren Sandham-Davies) unexpectedly falls into her life, an experience of what 'A Woman's Touch' can give solidifies the expectation that she should change. Calamity doesn't really understand why she is so regularly mistaken for a man due to being largely unstoppable with her authenticity, despite giving a rough-and-ready appearance. A flurry of moments dissect this: distinguishing male and female behaviour and becoming an interesting reflection of society, both in the era of setting and today.

The ending is disappointingly basic. Although reflecting the film (thus likely to be enjoyed by those who are fans), the theatrical dynamics open an opportunity to form a more meaningful conclusion, regardless of the production's comedic roots. Instead, it feels as if the dramatics and bonding, both between the characters themselves and the audience with them, come to a rapid closure. Sweet perhaps, but unfulfilling of how Calamity's fiercely refreshing, unparalleled personality pierces through the concept of a regular woman.

Many of the cast are actor-musicians who beautifully flood the stage with impermeable talent at regular intervals - a very admirable act that adds huge value to the show. Danny (Luke Wilson) and Susan (Hollie Cassar) are strong, supportive roles in a company that provides boundless energy where other areas are lacking.

It is not so much the belly-laughing humour you may anticipate from a comedy, but bouts of amusement act as light relief amid the gun-slinging tensions. Nikolai Foster brings his recurring ingeniousness to directing a show that packs a punch. Alongside co-direction and choreography by Nick Winston and Catherine Jayes' musical supervision, they make for a critically acclaimed combo, bringing to life the hoedown spirit through tracks including 'The Deadwood Stage (Whip-Crack-Away)' and 'Just Blew in from the Windy City'. Contrastingly, 'The Black Hills of Dakota' and 'Secret Love' give more profound tones for a successfully varied score, once again drawing on the original. Matthew Wright's set itself doesn't change much throughout the narrative, but the space is adorned well and cooperates nicely with the creative use of props.

If you're after a whip-crackin' good time, Calamity Jane might just be the one for you - don't be afraid to immerse yourself in the old Western shenanigans.