This production of Calamity Jane, which originated at the Watermill theatre with Jodie Prenger in the title role, takes to the road again in a new tour led by Carrie Hope Fletcher. And while no doubt fans of the Doris Day classic will enjoy, the production and the musical itself as a little questionable.
The setting, and production values are great. It’s a well put together stage adaptation of the classic film. And nothing really feels lost in that sense, from the transfer to stage. It works well too in the stripped back style performed within the confines of the Deadwood theatre, and a little bit of ‘wink wink’ to the audience who they assume know the story (and songs) well worked in the theatrical setting of it all. So far so Vaudville.
Of course, the heart of the show is Calamity, the glue that holds the (Fairly flimsy but we’ll get to that) show together. And she is a rootin-tootin cowboy (cowperson?) of a role, with several classic songs and moments of sass and wit that many audience members ate up. But none of it quite really clicked. And it feels like maybe this just isn’t a role that plays to Carrie Hope Fletcher’s strengths, vocally or in character. It’s a real shame as she’s hugely talented as her many musical roles attest. Her voice in the right roles soars, and we do see some of that in ‘Secret Love’ which is truly beautiful and shows off exactly what she can do. She’s also proven herself as a fine comedic actress in roles like Wednesday Addams, but unfortunately the comedy of Calamity fell a bit flat in her hands.
Maybe it’s just the show itself falls a bit flat? And it’s not entirely the production, and certainly not the hardworking actor-musician company, but maybe just…the show?
The company and the production here are solid; they are of the quality you’d expect from the Watermill Theatre. The actor-musician version of the classic works well here, it makes perfect sense in the setting of Deadwood’s theatre, where most of the action takes place. And they are an endlessly talented group of performers, bringing musical talent and often high comedy and wit to the show. It’s a fantastic choice to make it an actor-musician show, and the ensemble and the way they pull the story together are a real highlight.
But the story.
Why, in 2025 really are we producing this show? And why too are we framing it as a hick-kicking Feminist adventure? The story (such as it is) centres on two hours of getting Calamity into a dress and making her more ‘femininie’ so she can get a boyfriend.
If you pitched that today you’d be rightly told to get some standards.
Calamity is told she’s ‘not woman enough’ for most of the show for wearing the ‘wrong’ clothes, and ‘acting’ like a man. She’s made fun of and told she won’t get a boyfriend. And indeed the one she does like chooses the more ‘feminine’ woman. Then when she shows emotion about the man she likes choosing her friend, she’s made fun of. But in the absence of anything else, or perhaps anyone else, she still decides to marry the man making fun of her. But not before she’s found a way to wear a nice dress and be a ‘proper’ woman.
Now somewhere in there, is a story about falling in love with your best friend and one who sees you for who you really are. Because actually there’s a really nice relationship between Calamity and Wild Bill Hickcock (Vinny Coyle). And in fact their chemistry is one of the highlights of the show- they feel like genuine friends the ‘banter’ between them doesn’t feel forced, and you’d think you were getting a story of two friends realising their love.
Which is what they show thinks its giving us granted. But in fact, Bill and Calamity’s current crush (Handsome army-man Danny, played by Luke Wilson) fight over who gets to take Calamity’s friend and roommate to the dance, and Bill is stuck with her as consolation prize. And instead of realising that yes, he loved her all along (cliche but still heartwarming), the show frames it as a shrug and sigh and puts up with her (but only if she puts on a nice dress).
It’s exhausting honestly. Yes, all this was fine in the 1950s (well not fine, but understandable) when Doris Day did the film (and she was by the way also a feminist icon who wielded a lot of power in the industry, but that’s another story, maybe a better musical…). And actually with a few tweaks to the book, this could be a story of falling in love with a best friend, and being able to be a multi-faceted woman who drives the stagecoach, shoots a gun and wears nice dresses. Instead it’s stuck in a 1950s faux-feminism, with Calmity only able to be a kick ass independant woman if she doesn’t want a man, being told to be more feminine while also being told she’s too feminine…come to think of it didnt’ the Barbie movie (also a 1950s feminist icon) do a speech abotu all that?
Probably, if you love the film, none of this will matter. It gets filed neatly into ‘classics’ and ‘how it was’ and that’s ok…problematic favourites are ok, as long as we can have some critical distance (or at least balance out with some 2025 feminism too). And the songs are nice, and the silly set up of an actress smuggled into town and living out her dreams is actually a really nice, fun story. Just maybe one that needs a bit of updating in other areas.
Oh and one final footnote; directors, please with a classic musical that people are already going to try and sing along to, encouraging it during the ‘Hills of Dakota’ just meant we were treated to several other renditions of ‘Secret Love’ and it’s much better left to the professionals.
Until 11th March at the Wales Millennium Centre. Tickets here.