Browsing the programme notes of Calendar Girls (formerly The Girls) – which is based on the 2003 film of the same name co-written by the award-winning playwright Tim Firth who also penned both the stage and musical adaptations, the latter of which with lyricist and composer Gary Barlow – I was struck by one of the credits: comedy staging by Jos Houben.

Given that the directorial reins are in the safe and experienced hands of Matt Ryan who in recent years directed the European premiere of Dogfight at Southwark Playhouse which was nominated for the Evening Standard Award for Best New Musical, why the need for a credited artist to oversee comedy staging?

For most of the two and a half hours running time, which whizzed by faster than Compo being chased by Nora Batty’s broom, the question grew from a sesame seed to a sunflower with no answer in sight. Until the pinnacle of the play, the literal big reveal, when the “fabulous knitters” of the W.I. under the robust stewardship of Fern Britton’s Marie drop more than a stitch to raise funds for a hospital settee in memory of the late “moral beacon” of Yorkshire John (Phil Corbitt), husband of Annie (Anna-Jane Casey), who died from leukemia at an early age.

The audience was in an uproar at each twanging of a bra, dropping of a towel and raising of a current bun. So much so that I was expecting a rousing chorus, not of Jerusalem, but Swing Low, Sweet Chariot when Denise Welch as the buxom Celia raised the roof with the announcement that she will be volunteering for a double-page spread.

Jos Houben, take a bow. In fact, every member of the 23-strong cast should take a bow for there are no weak links in the gold chain which forms the Olivier-nominated musical’s first UK tour – co-produced by David Pugh and Dafydd Rogers (Art, The Play What I Wrote) and The Shubert Organization – which may not be as big, bold and brash as other productions, but succeeds in being heartfelt, honest and human. Not to mention constantly and gloriously funny.

It would be unkind to praise one performer over another, for each of the characters get their moment in the spotlight and each of the actors rise to the occasion like one of Celia’s “straightest courgette” jibes to Tyler Dobbs’ mortified Tommo. Karen Dunbar nails her one-liners with knowing gusto. Sara Crowe is a blast as the square Ruth. Ruth Madoc’s deep Welsh timbre ignites the dying embers of the “do not go gentle into that good night” song What Age Expects. Rebecca Storm’s emotionally-charged pipes takes the role of Chris by storm. And the heart and soul of the entire production is anchored around the impressive performance of Anne-Jane Casey as Annie get your bun!

The book of most musicals plays second fiddle to the lyrics and music. The same cannot be said about Tim Firth’s storyline and dialogue which is as equally engaging as Gary Barlow’s down-to-earth but diamond-cut compositions. Indeed, on several occasions, the closing line of a scene provokes a rapturous round of applause befitting of an 11 o’clock number ensuring that Calendar Girls will not only fill the pews for many years to come, but also fill the coffers of Bloodwise (formerly Leukemia Research) for which it has raised over £5 million.

Peter Callaghan
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