Michael Cox reviews a ‘delightful’ production.
History buffs of American frontier life, or indeed fans of the seminal TV series Deadwood, will perhaps be a little out of sorts if they’re going into Calamity Jane cold. A whimsical musical, the story might centre around one of the American Old West’s most colourful figures, who was more comfortable holding a gun and sleeping off a hangover under the stars than keeping house, but it is also a product of its time.
History’s version of Jane might be a hard-drinking braggart who lived hard and held her own against men, but here Jane is almost a mascot—friends with everyone, eager to please and happy to be the centre of attention while spinning a yarn. Jane’s arch here is to learn how to be feminine—she befriends an actress who teachers her about the importance of ‘a woman’s touch’, falls for the wrong man but ends up redeeming herself by apologising and allowing love in her heart.
All very 1950s Americana.
The original songs were colossal hits—penned before Rock ‘n’ Roll revolutionised pop music. Such numbers as ‘Just Blew in from the Windy City’, ‘Black Hills of Dakota’ and ‘Secret Love’ are wholesome but still delightful and catchy bangers. Of course, it was Doris Day who originally belted these songs and charmed her way through the plot—an all but impossible act to follow.
Famed musical theatre star Carrie Hope Fletcher plays Jane—and she is an absolute treat. Her voice is pitched perfectly for these songs, and she has no problem leaning into both the comedy and the pathos throughout the performance. Jane has been a role that has been coveted by many, yet it’s hard to see how one can better Fletcher’s delivery here.
The ensemble are not as solid. Vinny Coyle’s Wild Bill Hickok isn’t as convincing as he should be in such a commanding role, and Luke Wilson has a lovely voice as romantic interest Danny Gilmartin but doesn’t quite give the spoken moments as much gravitas. Seren Sandham-Davies is charming enough as Katie Brown but sometimes feels a little undercooked, yet Samuel Holmes manages to be brilliant in the supporting role of vaudevillian Francis Fryer and has some of the production’s best moments.
The staging is also perfectly fine. Originally staged by Nikolai Foster, with Nick Winston serving as co-director and choreographer, the production is mostly functional to allow the songs to come through. Only a few company dance numbers and some fun staging choices to depict travels via stagecoach manage to stand out.
However, the truth of the matter is that it’s hard being overly critical of the show. It might not be a rousing West End behemoth, but it wears its heart on its sleeve and is delightful enough, and has enough joy in its soul, to make it more than a worthy performance to catch. It’s also hard to leave the theatre without a smile on your face after the curtain call: and that says quite a lot in its favour.
Calamity Jane is at the King’s Theatre in Glasgow until July 5, 2025. It then continues its UK tour until September. For further details, go to the production’s website.
Photo by Mark Senior.
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