Calamity Jane

Turning 1953’s Calamity Jane into a stage show was always going to be a risky move. With its abundance of awkward political turnings and dated social faux pas, some serious revision was needed. There’s the casual racism against Native Americans, which is hard to stomach, and then there’s the uncomfortable clash of wild west grit and 1950s gender politics. The film might be a cult classic, but it’s undeniably a product of its time.

Going in, I hoped this modern production might embolden Calamity’s character at the end – refuse the dress and make-up. Steer her away from eventually following the stereotype of what a woman should be. But really, the stage show sticks pretty close to the original plot. There’s still plenty of butch swagger and charm, but not quite the feminist reworking I’d been expecting. Then again, for Calamity to fully buck convention, the entire story would have to change. And this version isn’t aiming to burn down the saloon, just polish up the spurs.

The Watermill Theatre’s production of Calamity Jane, directed by Nikolai Foster with co-direction and choreography by Nick Winston, keeps the heart of the 1953 film alive while adding a few much-needed modern tweaks. The show brings a lively energy to the stage, with delightful surprises along the way. As soon as I took my seat, I was immediately struck by the simplicity of Matthew Wright’s set design: a wooden stage that feels grounded and unassuming, with soft tea lights casting a warm glow across the space. The design is stripped-back yet effective, with the actors seamlessly moving props and suggesting locations as they go.

The way the stage transforms throughout the production is clever and effective, adding layers to the storytelling. The set transitions from a straightforward wooden stage to a sepia-toned backdrop, creating a sense of depth and shifting the atmosphere as the narrative unfolds. It’s as if we’re not just watching a story but witnessing a performance within a performance, and we become an extended ensemble of the cast. I’m sure there were more than a few horny blokes (and a few women added in the show) in Deadwood. We have to be part of it to fill the void missing on the stage.

Carrie Hope Fletcher takes the reins as Calamity Jane, and she does so with aplomb. From the first moment she bursts onto the stage in Just Blew in from the Windy City, you can’t take your eyes off her. She brings a perfect balance of comedy, sass, and vulnerability to the character, particularly in her rendition of Secret Love, which is as touching as it is heartfelt. Fletcher’s vocal performance is nothing short of impressive.

And for her love interest, Vinny Coyle’s Wild Bill Hickok is the perfect match. His performance is full of brooding intensity, but with enough warmth to make us care for his character. But he’s also a laugh. One of the funniest moments comes when Bill loses a bet. He’d doubted that Calamity could win over the haughty Adelaid, but she proves him wrong. Bill, now decked out in a flamboyant, over-the-top queen costume, struggles to maintain his dignity – creating a hilarious and endearing scene. This playful twist replaces the film’s more problematic Native American costume with something light-hearted and contemporary.

On top of this, his chemistry with Fletcher’s Calamity is electric, and their duet I Can Do Without You is a true highlight of the evening. One of my favourite musical hits of all time, and it doesn’t disappoint here.

Molly-Grace Cutler plays the haughty Adelaid Adams with a true sultriness, you wish she could have been on the stage longer. While Seren Sandham-Davies brings a nuanced performance to the role of Katie Brown – Adelaid’s maid who aspires to be a star. She’s got the pizzazz and wow factor.

Luke Wilson, as Katie’s love interest Danny Gilmartin, also delivers a stellar performance, especially during their duet Love You Dearly, where the audience falls into a hushed silence, captivated by their chemistry.

However, the show-stealer was Samuel Holmes as Francis Fryer. His comic timing is impeccable, and his performance as the out-of-place actor is full of heart and hilarity. His number Hive Full of Honey is pure magic, showcasing his remarkable talent as both a dancer and comedian. I’ve still got “Oh, I've got a hive full o' honey / for the right kind of honey bee” stuck in my head, and frankly, I think it’s an earworm that might be more dangerous than a cactus in a saloon.

I adored the tender moment shared on-stage when Calamity confesses to Bill her unrequited love for the lieutenant, and Bill, in turn, reveals that he feels the same way about Katie. It’s the first time in the show where the stage feels uncluttered, and the intimacy between the two of them takes center stage. It’s a rare, beautifully understated moment that cuts through the broader spectacle, offering a glimpse of vulnerability amidst the bravado of much of the show.

Of course, one of the most impressive aspects of the show was the actor-musicians. The way they effortlessly transitioned between acting and playing their instruments was truly remarkable. The musicians brought a rich, lively energy to the music, blending traditional western sounds with a more playful, spirited tone. The iconic numbers like Deadwood Stage, The Black Hills of Dakota, and Once I Had a Secret Love get a fresh, vibrant treatment, ensuring that the music is as much a character in the show as any of the actors.

While the production is largely faithful to the original, it does make some key updates. Gone are the film’s racist depictions of Native Americans, which is a relief, though the complete absence of Native characters may leave some questions unanswered. Nonetheless, the production focuses on gender and romantic dynamics, with new songs like Men! delivering a clever critique of patriarchy and Careless With the Truth highlighting Calamity’s love for a good tall tale. And while the show embraces its theatrical roots with playful energy, its plot does sometimes meander on stage.

There’s much to admire in this production of Calamity Jane. From its toe-tapping musicality to the strong performances and slick staging, but I must admit that I did find it difficult to fully connect. It’s a show that leans into nostalgia and I was left wishing it had taken a few more risks. While it certainly plays to its strengths, there’s a sense that it stops short of reimagining the story for a new audience. It’s a polished and spirited revival, just one that plays it a little too safe. A rootin’-tootin’ crowd-pleaser. But, heck, I was hoping for a wilder ride through Deadwood.