CALENDAR GIRLS at the The Mill at Sonning

★★★★

“Innocently raunchy and with a feelgood factor as comforting as home-made plum jam”

‘We’re not naked… we are nude!’. This distinction is a playful leitmotif that runs through the charmingly English comedy-drama, “Calendar Girls”. That the debate can follow seamlessly from a discussion on the history of broccoli, or sit comfortably next to the stoical last words of a dying cancer patient, is testament to Tim Firth’s writing. Based on a true story that caught the world’s attention in 1998, the film release in 2003 was a global hit too; inevitably followed by the stage version which made its way to the West End. Sally Hughes’ revival at The Mill at Sonning is faithful to every note and nuance of the original, retaining the fine balance of humour and sadness without giving in to schmaltz or slapstick.

The story chronicles a group of women, members of the WI in a Yorkshire village. Following the death of Annie’s (Natalie Ogle) husband John (Andrew Ryan), the ladies decide to buy a new sofa for the hospital that treated John during his last days using the proceeds from their yearly calendar. Desperate to find a way of increasing its sales they hit on the idea of spicing up its subject matter by photographing themselves performing typical WI activities (baking, gardening, playing the piano, knitting… and so on) but naked (sorry – nude!).

We are in an authentically rural landscape peopled by down to earth, self-mocking Yorkshire folk that Hughes’ cast present as the real thing. The scenes follow the months and seasons over a year. From the women’s initial resistance to stripping off, then relishing the idea, through to milking it for all its worth and ultimately providing a far grander memorial to John than they could ever imagine. Of course, along the way we witness the personal confrontations and mini dramas of these individuals as they grapple with their fears and desires.

“Kitty Harris and Dawn Perllman compliment the company with dual roles, adding further light and shade to an already dynamic production that gently gnaws at our emotions”

Imperious and snobbish Marie (a delightful Elizabeth Elvin) leads (or rather tries to lead) the ramshackle, sometimes subversive group of women. Debbie Arnold’s sassy Cora conceals her own insecurities behind rebellious, bluesy piano chords while Basienka Blake’s Celia wears hers as openly as her sex appeal and glamour. Natalie Ogle, as Annie, convincingly captures the emotions of a woman recently bereaved, clashing and reconciling with Rachel Fielding’s Chris – the ambitious matriarch who’s hard coating shields a heart of gold. Sarah Whitlock, as Jessie, has some of the juiciest lines, matched by Ciara Janson’s initially timid Ruth who ripens into a sauciness that equals the others’ gaiety and glee at baring all (well – nearly all).

Only have half of the year’s months are captured on camera for the calendar, which shortens the pivotal scene in which the women find ingenious ways of preserving their modesty when shell-shocked amateur (a hilarious Oscar Cleaver who doubles as cocksure TV lackey Liam) is roped in as official photographer. In fact, we mustn’t forget the men in this piece, who do in fact carry much of the emotional burden on their shoulders. Steven Pinder, as Chris’ neglected husband Rod, holds a fragile and tipsy veneer over his own lonely struggles while Andrew Ryan’s John short-lived role captures the sad deterioration of the cancer victim with a vulnerable strength.

Kitty Harris and Dawn Perllman compliment the company with dual roles, adding further light and shade to an already dynamic production that gently gnaws at our emotions. It paws rather than hits. We purr rather than laugh out loud and our eyes glass over rather than shed tears. There is a reserve that is quintessentially British and that is utterly fitting for this interpretation. Innocently raunchy and with a feelgood factor as comforting as home-made plum jam. A heart-warming tale of people coming together, layered with humour and topped with a creamy layer of poignancy.

CALENDAR GIRLS at the Mill at Sonning

Reviewed on 20th April 2024

by Jonathan Evans

Photography by Andreas Lambis

Previously reviewed at this venue:

HIGH SOCIETY | ★★★★ | December 2023

IT’S HER TURN NOW | ★★★ | October 2023

GYPSY | ★★★★★ | June 2023

TOP HAT | ★★★★ | November 2022

BAREFOOT IN THE PARK | ★★★★ | July 2022

CALENDAR GIRLS

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★★★★

“An elegant production. A swell party indeed. What a swellegant, elegant party this is!”

There’s a bit of a bluesy, Southern vibe about the Mill at Sonning’s “High Society”; as though we’re on the banks of the Mississippi rather than Long Island’s North Shore. Yet at the same time there’s a feel-good fifties swing that flits between the New York plaza suites and a high school prom reunion. For the senses this is an intoxicating mix that makes you feel as lightheaded as the bubbles in the constantly flowing champagne onstage. It takes a little while, however, for it to find its flavour.

The musical draws from the 1939 play ‘A Philadelphia Story’ and the 1956 musical film ‘High Society’. The original Cole Porter songs are all there, with others from his catalogue thrown into the mix for the stage version, slotting into the narrative with varying degrees of success. A narrative that is, on the surface, flimsy, flirtatious and fun. There is some underlying social commentary about class, but overall, it is a backdrop to the music, and it relies on the delivery and the snappy dialogue. Joe Pitcher’s revival focuses on the razzmatazz with glitzy performances from the lead players, ensemble and musicians alike.

It is the summer of 1958, an evening aglow with a warm setting sun. Preparations are underway for the wedding of society-divorcee Tracy Lord (Victoria Serra) and George Kitteridge (Will Richardson). Tracy’s first husband, Dexter Haven (Matt Blaker), gate-crashes events with predictable results as he tries to win back the affections of his first wife. Meanwhile a tabloid newspaper possesses embarrassing information about Tracy’s wayward father and has coerced the family into allowing reporter Mike Conner (Matthew Jeans) and photographer Liz Imbrie (Laura Tyrer) to cover the nuptials. Thus begins a tangled web of romances and revelations.

“the gorgeous splashes of colour from Natalie Titchener’s sumptuous costumes wash across the stage in time to Jaye Elster’s dazzling choreography”

Pitcher’s immersive staging allows the audience to feel like they are guests at the party, the auditorium being an extension to the sumptuous drawing room where most of the action takes place. Chris Whybrow’s sound design evokes the festivities spilling outside; to the gardens, the pool and down to the moonlit beach where Dexter’s yacht is moored. The band wander into and out of view, while the gorgeous splashes of colour from Natalie Titchener’s sumptuous costumes wash across the stage in time to Jaye Elster’s dazzling choreography. But when the music pauses, for the most part the dialogue lacks the quick-fire lightness of touch that Arthur Kopit’s book requires, leaving the lines to be dragged back by an earnestness that dims the twinkle in these characters’ eyes. There are exceptions. Victoria Serra is quite a force to be reckoned with as Tracy Lord; sometimes angry, often drunk and always playful. Katlo, in her professional debut, is a pure bundle of joy as Lord’s little sister Dinah, and a name to watch out for. When the tabloid hacks waft in to ruffle a few feathers, we get a real sense of the fifties film’s original showmanship and delivery. Jeans’ smooth-talking, all-knowing journalist melts hearts left right and centre while, despite his dubious occupation, his own heart nobly aims Cupid’s arrow away from himself to let ‘true love’ blossom in the correct place.

In fact, none of the performers fail to melt our hearts during the musical numbers. The ensemble harmonies are exquisite, while the solo moments scorch as they weave seamlessly between the smouldering ballads and the flaming Latin passion that fires Cole Porter’s songs, courtesy of Jerome Van Den Berghe’s arrangements. A brave approach, but fans of Cole Porter will not be disappointed. as each cast member take their turn to lend their beautiful vocals.

“High Society”, although not particularly festive, is a Christmas treat that you can’t afford to miss. An elegant production. A swell party indeed. What a swellegant, elegant party this is!

Tag Archives: The Mill at Sonning

CALENDAR GIRLS

★★★★

Mill at Sonning

CALENDAR GIRLS at the The Mill at Sonning

★★★★

“Innocently raunchy and with a feelgood factor as comforting as home-made plum jam”

“Kitty Harris and Dawn Perllman compliment the company with dual roles, adding further light and shade to an already dynamic production that gently gnaws at our emotions”

CALENDAR GIRLS at the Mill at Sonning