Based on the classic 1953 Warner Bros. film, Calamity Jane tells the story of the brash and outspoken frontierswoman of Deadwood City, whose larger-than-life personality often gets her into trouble. Set against the backdrop of the American Wild West, the story blends comedy, drama, and classic musical numbers like “The Deadwood Stage” and “Secret Love”. In a revival of Nikolai Foster’s 2014 production, Calamity Jane is set to tour the UK for much of 2025, but how does this production stack up?
The performances are undoubtedly the highlight. In the title role, Fletcher delivers a commanding portrayal of Calamity Jane, blending strong vocals with a confident grasp of the character’s quirks. Her rendition of “Secret Love” is one of the production’s rare emotive peaks. Vinny Coyle as Wild Bill Hickok brings an assured characterisation and impressive dance ability. Seren Sandham-Davies adds an intriguing dynamic as Katie Brown, bringing solid vocals and injecting a fresh energy to the town of Deadwood and the show as a whole.
The actor-musician element adds an interesting layer to the production, with the cast displaying impressive musical talent. When instruments are seamlessly incorporated into the choreography, it elevates the energy and showcases the cast’s versatility. The score, featuring classics such as “The Black Hills of Dakota” and “Just Blew In from the Windy City,” sounds fantastic in the hands of the ensemble, even if the songs themselves fail to significantly progress the plot.
The set and costumes, designed by Matthew Wright, evoke the rustic charm of Deadwood. Though the set remains largely static, the costumes provide vibrant visuals that capture the spirit of the Old West. The choreography, by Nick Winston, occasionally shines, particularly in Act 2, where ensemble numbers infuse much-needed vitality into the production.
Despite these strengths, Calamity Jane struggles to engage its audience consistently. The pacing is a significant issue: Act 1 drags, with little momentum to carry the audience through its slower moments, while Act 2 feels rushed, giving little time for relationships and character arcs to develop organically. This imbalance robs the production of narrative cohesion, leaving many scenes feeling disconnected.
The book, adapted by Charles K. Freeman, exacerbates these issues. The exploration of characters feels shallow, coupled with dated and misogynistic representations of women, makes the show feel out of step with modern audiences. Relationships are underdeveloped, and Calamity’s love interest lacks the emotional depth to make their connection believable. Moments of comedy often feel forced, missing the opportunity for more nuanced humour. There is the opportunity in this story to develop strong female characters and instead this falls into classic sexist tropes.
The static nature of the set, combined with repetitive lighting design by Tim Mitchell, compounds the sense of stagnation. The lack of significant set changes or dynamic lighting sequences can make the production feel visually monotonous. Act 2 introduces small backdrops to indicate location changes, but these are underwhelming and creased, further diminishing the overall polish of the staging. Additionally, while the actor-musician approach is a strength, the instruments are not always integrated effectively into the choreography, creating moments of disjointedness.
This Calamity Jane is a mixed bag. The talented cast, strong musical performances, and bursts of energy in the choreography show promise, but these positives are undermined by a lacklustre book, uneven pacing, and uninspired production design. While nostalgic audiences may find moments to enjoy, the production fails to breathe new life into this classic, leaving it feeling stuck in a bygone era.
Calamity Jane plays at the Manchester Opera House until Saturday 25th January 2025 where it will continue its UK tour.
Photography throughout from Mark Senior.
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