Carrie Hope Fletcher shines in energetic revival of 1961 musical.
I’ll admit that I was largely unfamiliar with Fein, Park and Hanmer’s musical, which follows the misadventures of gun-slinging Calamity Jane in Deadwood City. So I was pleasantly surprised to discover that Nikolai Foster and Nick Winston’s production is a bright and upbeat revival of the original musical, anchored by a stellar ensemble and the ever-impressive Carrie Hope Fletcher.
It is certainly a visual spectacle. Rarely seeing just one person onstage at a time, Matthew Wright’s set is most often populated with ensemble members playing a variety of instruments. The live music aspect is certainly impressive, and helps to lift a somewhat dated score into something exciting and tangible. The ensemble shine under Nikolai Foster and Nick Winston’s direction, really holding this production together. They are slick and seamless, switching between playing instruments, hoe- down dancing and creating the community of Deadwood. Their dexterity helps move the story along effortlessly. Despite its general lack of plot, this movement makes sure that this production never drags, which it definitely has the potential to.
However, the true jewel of this production is undoubtedly Carrie Hope Fletcher as Calamity Jane, demonstrating her true versatility as a performer in a role unlike those she has played previously. She provides a nuanced performance with both humour and tenderness, portraying Calamity’s gusto and vulnerability in equal measure. Her vocal abilities are incomparable, shining particularly in ‘Secret Love’, and she has easy chemistry with Vinny Coyle as Wild Bill Hickok.
Though snappy and upbeat, the production does struggle to free itself from the dated elements of the original show. Whilst Fletcher’s portrayal of Calamity Jane provides nuance, and it’s clear that there has been some thought about the handling of gender politics within the plot, it feels as though the production doesn’t quite get there. A couple of jokes don’t really stand the test of time, and I found it difficult to connect to as a woman in my twenties. But the packed-out audience (of people largely older than me, I must admit) was very responsive and seemed to have a great time throughout, so perhaps a sense of nostalgia is the key to this performance’s real heart.
Ultimately, Calamity Jane is harmless fun — it’s bright, upbeat and farcical, and it’s difficult not to be swept along by the impressive performances across the cast. Don’t expect anything particularly thought-provoking, but perhaps not all theatre needs to do this — it’s a great time either way.