*****

As a  2003 film,   starring Helen Mirren, Calendar Girls  was hugely successful.  From The Top Theatre Company takes on the stage version, again written by Tim Firth, about a Northern Women’s institute   group  who produce a nude calendar for charity recrafted with Gary Barlow songs, as a musical, and first performed as such in 2015. This incarnation however is a significantly reworked version of the 2015 version with characters cut and  dialogue and songs reworked. Indeed director Dave Crump has sneaked in some contemporaneous new dialogue too. Knapley in Yorkshire arrives in Sutton Coldfield West Midlands for one week only.

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Its strength lies in its characterisation of some stock figures familiar to any member of a society or social group as   snooty Chairwoman  Marie  ( Paula Lumsden) valiantly tries to maintain order and  is lampooned  mercilessly  while   stalwart member  Annie struggles with the death of her husband from cancer.  Marie’s  venomous exchange with Annie   in the second act is one of the standout dramatic moments of the evening, not least because it represents such an abrupt mood gear change. This  musical is ideal for amateur societies as it has a flexible large cast, multiple female leads and solos, and the foibles of a WI membership are directly interchangeable with an Am Dram group. A school age sub plot with Molly Millen and Fin Waldron is well acted  and  well executed.

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Many of the audience around me were unaware  that this was a musical, their introduction having been via the film. Why the score is not better known is a mystery. Barlow’s songs are strong and appropriate and ooze “Take That” style melodic class. On the night , Williams’ , “Scarborough” was an emotional and technical delight, O’Borne’s “My Russian friend and I” ( Ruth’s  homage to vodka and a loveless marriage), Chris’s ( Deb Crump) lovely Sunflower and Paul Lumsden as Colin’s  contribution to “Girls” stood out. I encourage you to check out the soundtrack  to hear the songs  for yourself.

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Tina Williams  as Annie deftly manages establishing her relationship with her terminally ill husband John in the first Act before transferring her affections to vampy best friend Chris ( Deb Crump) in the second. It is a demanding task, Dave Crump  as John, has the onerous job of garnering our sympathy and support in the first half sufficient that the goodwill spills over into the second despite his absence which he does powerfully and unostentatiously. Deb Crump adeptly handles her friends heartbreak and her errant son’s misbehaviour with engaging stoicism.

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Robyn Klein Christofells pouts and smoulders pleasingly and  persuasively as a golfing toff  femme fatale.Cora (Tina Romano), and Jessie (Alison Cahill ) offer powerful and essential support, not least with  their own vocal slots.

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Director Dave Crump is  sure footed  and nimble  keeping things  light, but  never  flimsy. With a  talented cast that sparkle with wit  , warmth,  and considerable vocal talent. The  comedy is fully relaised but not at he expense  of the  sombre, reflective moments. His adroit handling of the the nude photo shoot  itself is logistically  brilliant fully utilising the digital wall operated by Dan Thompson. The wall itself ensures a limited set requirement providing an instant changing backdrop.

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Even a show about nudity requires clothes, and the costumes,  are well chosen  reflecting  the lives and personalities of each character with attention paid to each cast members diverse choice  shoes, a detail so often neglected in amateur productions.

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The uplifting finale song ‘Sunflowers of Yorkshire’, enables the show to conclude with a heart warming and uplifting ensemble number in a show which exudes  warmth, wisdom and positivity.  Runs until  11^th May