Calamity Jane (May 2005)

CALAMITY JANE

From time to time representatives of NODA are invited to see and write comments about shows by affiliated societies other than those with which they are normally concerned. This allows Regional Representatives the opportunity to witness the efforts of a wider range of groups and enables them to make a comparison between the standard of those societies and that reached by ones they normally see. As E. Gloria Smith, your usual Regional Representative was unable to cover your production of "Calamity Jane I was asked to stand in for her on this occasion.

"Calamity Jane" is a popular choice of many amateur theatrical societies and I was surprised to learn that seat bookings during the week of its run was not as satisfactory as for some other shows you have presented.

The action takes place in a frontier town in Dakota towards the end of the 19th. Century when native American Indians were still a threat to settlers and when the level of lawlessness was high. The principal scenes were based in the Golden Garter Saloon of Deadwood City and the hired set provided a good representation of the type of building that probably existed in the town at that time. A smaller but attractive set depicted the interior of the heroine’s rough log cabin. Other scenes, one in a theatrical dressing room and another in a US Cavalry fort were played in front of black drapes and perhaps these could have been made more interesting if enlivened by more colourful props and items of furniture than those used. A feature of the opening scene in the Golden Garter was a "cabinet" covered by a grey cloth on its stage that was used, when the cloth was removed, to project an image of the music hall star, Adelaide Adams, after whom most male residents of the town lusted. Removing and replacing the cloth was not slickly done and I wondered whether it could have been replaced by a fixed gauze through which Adelaide’s posturing could have been observed if suitably lit.

Although a sizeable stage crew was employed, changes between some scenes seemed rather long and on one occasion exceeded the time allowed by the covering music.

Props were suitable and those that were used to transform Calamity’s cabin whilst she and Katie sang "A Woman’s Touch" were well chosen and effectively used. Calamity’s gun fired at all the correct moments without mishap.

Lighting and sound plots were appropriate and were followed with no perceivable errors. Galloping horses etc. emphasised the nature of the area in which the action was taking place

This show has an excellent score with songs that were very popular when the film upon which the stage show is based was first released. It was played by the orchestra under the direction of David Pennant. To my untutored ear, the balance of the orchestra was not ideal and perhaps might have been improved by the addition, if possible, by a few more than the two wind instrumentalists that were employed. Some of the show’s louder numbers needed more attack than they were able to provide.

Costumes were most suitable for the period and the status of those wearing them.

Make up was generally appropriate with a good display of stage blood to indicate where Danny Gilmartin had been wounded. For someone who spent a large part of her life outside shooting Indians, Calamity’s complexion might have been tanned to a greater degree.

A feature of the show is the number of songs involving the chorus. Unfortunately the membership of most amateur theatrical groups tends to be weighted towards the female gender and these were largely responsible for the liveliness with which these numbers were tackled. Plenty of enthusiasm and energy was evident but some uncertainty or lack of concentration in the early scenes from one or two spoilt the precision with which the routines were performed. The number of males involved required some obvious doubling and tripling of roles for several of them. The Director, Sue Sampson, organised her cast well and positioned them effectively into meaningful groupings. Individually they all did well in the roles in which they were cast and most suited physically the parts they undertook.

Taking the eponymous lead was Emma Culley, a tomboy character who strode about the stage with masculine gait that was more pronounced when wearing a dress. She adopted a rough edged tone for many of her speeches to stress her masculinity. She sang well and led the chorus in such numbers as "Windy City", "The Deadwood Stage" and "Careless with the Truth". Perhaps her first entrance could have benefited from a bigger build up before she came on stage. Her "enemy" until the final stages was Wild Bill Hickock for which Martin Sampsom who due to his height, build and stance was ideally cast. He has a wonderful resonant voice which he used to good effect both in solos such as "Higher than a Hawk" and in duets with Calamity like "Secret Love". A greater physical similarity between those cast as Adelaide Adams and Katie Brown might have made Calamity’s error on mistaking one for the other more credible. Rachel Davison was certainly very convincing as the conceited "star" whom all the men desired and her rendition of "Harry" was well performed for the benefit of her many admirers. Less extrovert was her dresser, Katie Brown and in this role Helen Williams tackled the transformation from nervous indifferent performer to confident singer with aplomb, subsequently blossoming so that she was pursued by two suitors. One of them was Geoff Morris, completely believable as Danny Gilmartin and who was able to display his pleasant singing voice when duetting with Helen in "Love You Dearly". Francis Fryer must be one of the most difficult to cast requiring an actor who can reasonably pass as female as well as being able to sing both as a male and as a female. Robert Tickner met these requirements admirably and in addition was prepared to turn somersaults and ride a unicycle in demonstrating his talent as a song and dance man The excitable and pessimistic owner of the Golden Garter, Henry Miller, was played with considerable nervous energy by Mike Bartlett whose anxiety, on occasion, resulted in some of his words not being clearly heard. A lovely part for a young actress is Susan and Samantha Bone was quite delightful in playing it.

My wife, Jackie, and I were very pleased to have the opportunity of watching this production and we thank you for allowing us to do so. We would also like to thank Robert Chamberlain for being on hand to greet us on our arrival, for his consideration in seating us and for the hospitality offered in the interval when we were able to exchange a few words with David Pennant and old friends Jim Hatley and Eileen Green.

 Reg Humby, Regional Representative, Region 6