Calamity Jane

Calamity Jane
Adapted by Ronald Hanmer and Phil Park. From the stage play by Charles K. Freeman. After Warner Bros. Film written by James O’Hanlon. Lyrics by Paul Francis Webster. Music by Sammy Fain. One Eyed Man Productions in association with Neglected Musicals & Hayes Theatre Co. Canberra Theatre, 15 – 19 August, 2018 and Belvoir Street Theatre, 23 – 30 September.

Weaving elements of cabaret in with the classic musical, One Eyed Man’s Calamity Jane is a very different take to the 1953 film. It’s earthier, raunchier and more intimate. Seating a small number of the audience on the stage gives a sense of inclusion as well as providing ample victims for audience participation. Far and away the best thing about the show is the marvellous performance as Calamity Jane by Virginia Gay. Gay’s Calam seems to take a lead from the way the original character has been described: warm, funny, prone to wild exaggeration and more than anything, fabulously butch. She’s a more real, believable character than Doris Day’s was, in spite of obviously being played for laughs. And she’s unabashedly, almost naively sexual. While everyone else is disappointed when the showgirl they’d ordered turns out to be male, Calam responds with “Hooey, he’s pretty. Smile Francis, show us your dimples,” inverting a few gender expectations.

Ms Gay’s support cast is also fabulous. Laura Bunting makes a sweet, twee Katie Brown, Matthew Pearce is the hunky young sex object Danny Gilmartin, Rob Johnston is delightful as the fish out of water Francis Fryer, and Anthony Gooley makes Wild Bill Hickock a knockabout bloke with an American accent. There’s the obvious scope for playing with gender roles and sexuality: some sexual tension even develops between Calam and Katie, so that when Calam sees Katie and Danny kissing, you are not sure who she’s more jealous of. As you might expect, some racism and sexism has carried through from the original, but that would be unavoidable.

Of course, the music is great as well. Sometimes the vocals are more character-driven than beautiful, interspersed with stunning barbershop quartet-like arrangements. Ms Gay styles her deep alto between character, jazz, yodelling and belted show tune. “The Black Hills of Dakota” and “My Secret Love” are glorious, climaxing in gorgeous harmonies by the ensemble. Almost all the cast produce and play instruments and between themselves provide most if not all of the accompaniment.

This is a wonderful show no musical lover should miss.

Cathy Bannister

Photographer: John McRae.

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