Feisty, female, funny, fresh, feminist and fabulous. She is Virginia Gay and she is Calamity Jane. And Gay embodies all that was ever said of the original Calamity – “generous, forgiving, kind-heated, sociable … with daring and courage”. See her and it becomes obvious why Gay won the best female performer in a musical at the Sydney Theatre Awards in 2017. For all our laughter, I was suddenly moved to tears by Gay’s portrayal of pain at her perceived betrayal. To take us from comedy to grief in the swing of a few minutes is truly a testament to her talent and ability.
But she doesn’t do it alone. An equally wonderful cast swirl around her. Sheridan Harbridge as Susan and Adelaide Adams is equally as extraordinary, her comic timing is excellent and her stage presence raises the energy. Anthony Gooley is Calamity’s friend and unexpected lover Wild Bill Hickock who is as inarticulate and sexually naive (for all the notches on his gun) as Calamity; then he captures us with Higher Than a Hawk. Tony Taylor brings all his experience to the Golden Garter to give us the funny, smooth operator Henry. Francis Fryer is often a role which fades in this show but Rob Johnson brings it dignity and sympathy. As Lt Danny Gilmartin (the object of Calamity’s adoration), Matthew Pearce is substantive, displaying all the casual cruelty of a man unaware of someone’s obvious crush and brought to semblance of compassion by Laura Bunting’s sweet Katie Brown, whose own transformation shows a steel spine and non-negotiable standards.
Instead of an orchestra, we have Nigel Ubrihien as not only a musical director but as the solo saloon piano player, filling the stage not only with professional, assured guidance (and piano playing) but moments of humour. A stage, where we are part of the action at the Golden Garter is the immersive and successful work of designers Lauren Peters and Trent Suidgeest. Costuming charts the journey of characters with Calamity’s wedding outfit being the ultimate resolution of her character.
This is a joyous production of an old and “neglected” musical and brilliantly reimagined by director Richard Carroll. He credits the cast and creative team of the original Hayes production but the success of every show ultimately depends on a director’s vision and ability to weld a team together; and Carroll’s vision and ability are wonderfully adventurous; underneath the glorious improv and immersive theatre challenges is a tightly structured, impeccably choreographed, beautifully sung, marvellously imagined performance. The original show offered ideas of gender identity and sexuality but in past productions that I know of, they have been largely ignored or underplayed. Some past productions even seemed to criticise Calamity as not being “woman” enough. This production celebrates her as being all woman, lovingly exploring the idea of all that a woman can be, adding nuanced layers and depth to what easily may be glib.
Indeed, the shows offers up three strong female role models: Calamity, Susan and Katie. Gloriously varied, demanding to be seen and heard as individuals, unwilling to conform to other’s (male) expectations. Yes, there is the traditional “happy ending” where each marries their secret love, but it is on their own terms, not someone else’s.
I laughed, I cried, I sang, I was transported by The Black Hills of Dakota; I sang along (in my head) to Secret Love. It is one of the best things on in Sydney. If you missed the Hayes Theatre production, then do what you must to get a ticket to this. If you saw it in 2017, then treat yourself again. It is going to be one of those shows people talk about years later.
Please, please, please bring us more neglected musicals in this vein!
Kate Stratford – On The Town
Calamity Jane
Adapted by Ronald Hanmer & Phil Park From the stage play by Charles K. Freeman Director Richard Carroll
23 August – 30 Sept 2018
uesday & Wednesday 6.30pm
Thursday & Friday 8pm
Saturday 2pm & 8pm
Sunday 5pm
Previews (bookable)
8pm, 23 August
8pm, 24 August
Post-show Q&A
28 August, directly following the performance
Captioned Performance
2pm, 22 September
Unwaged Performance
2pm, 27 September
Belvoir Briefing
6.30pm, 9 August
Venue: Belboir Upstairs Theatre
Theatre Company: Presented in association with One Eyed Man Productions with Neglected Musicals and Hayes Theatre Co
Duration: Approx 2 hours & 30 mins inc. interval
