What happens when a production has arguably one of the biggest musical theatre stars in the U.K., portraying the most prolific and publicly renowned frontierswoman to exist, and directed and choreographed by a powerhouse duo? It not only builds the ultimate excitement but also sets expectations at a ridiculously high level.

Directed by Nikolai Foster with co-direction and choreography by Nick Winston, Carrie Hope Fletcher leads a fantastic company and, although there is no dead wood on this stage, unfortunately, the anticipatory hype wins the standoff with this revival of Calamity Jane.

Although based on the real-life Martha Jane Canary, this adaptation of the fictitious 1953 movie has a case of identity confusion, yet ultimately soars during the whimsical moments where the cast are clearly just having fun. The talented actor-musician laden cast’s energy doesn’t exactly dip throughout, but there are sadly few moments that reach the farcical requirements of bringing a classic, yet extremely dated, story to a modern audience.

Carrie Hope Fletcher does a solid job in her interpretation of Calamity. Her vocals are flawless (as usual) and she has the charm and sharp-shooting tongue required to lure us in and root for her through a, dare I say, stereotypical interpretation of a woman in the era.

Although elements of Calamity’s independence and strength boil to fruition, the thin plot and ultimately eye-rolling ending is less nostalgic and more irritating to those more familiar with the real Calamity Jane. It makes one wonder, why is there a need to revive a musical first produced in 1961, omit some problematic themes, and yet ultimately convert a strong character into a jealous and lovesick woman in need of male validation? Had the aforementioned whimsy and caricature been leant on more, there would have more oomph in its nostalgic turn, as opposed to a somewhat forgettable production.

In a cast of standouts, Samuel Holmes (Francis Fryer), Richard Lock (Rattlesnake) and Tomas Wolstenholme (Buck) bring scene-stealing energy- ramping up every opportunity for comedic effect. Furthermore, Molly-Grace Cutler dazzles with charisma in her short stint as the ‘real’ Adelaide Adams. Something that is bothersome, however, is during a scene where Adelaide is being impersonated, Cutler is sat front and centre in a different costume. A small detail, yes- but this detracts from the overall cohesivity, taking you out of one of the main plot points of an already flimsy book. This said, in every production I’ve seen Cutler in, less is definitely not more for this underutilised star.

Set design from Matthew Wright is purposeful, as are his versatile costumes, allowing for transitions to be sleek. At times, the set feels claustrophobic due to the actor-musicians taking centre-stage, occasionally stunting Winston’s choreography. However, on the rare occasion that space is in abundance, room is given to breathe and, ultimately, to shine. Although the actor-musicians add to ambience of the piece, a full orchestration may have elevated the overall experience as parts of the production were a little too small…

Tim Mitchell’s lighting design is excellent, setting the tone both literally and figuratively. It complements the stationary, wooden set well and enhances the notion of movement-whether intentional or not- reminiscent of an old picture house.

Overall, fans of the film will enjoy the nostalgia and there are some great moments even for those not familiar with the original movie-musical. Less filler would allow more time to add depth to character arcs, and bit more whip-cracking wouldn’t go amiss to ensure it doesn’t feel like it just blew in from the Windy City…

Calamity Jane runs at The Opera House in Manchester until Saturday 25th January before continuing on it’s tour of the U.K. Details and booking can be found here.

Tickets gifted in exchange for an honest review.

Photography by Mark Senior.