REVIEW - Calamity Jane has been brought to life in all its glory. Get yourself a ticket for this whip crackin' show!

On Tuesday, we were invited to the Palace Theatre, Manchester to see Calamity Jane. Read what our reviewer Karen Ryder had to say about this crackin' must-see musical...

It’s been many years since I last watched Doris Day whip crackin’ her way through my Sunday afternoon in Calamity Jane, whilst I played make believe with the remote control, convincing myself that I too was the fanciest pistol draw, but in all of Manchester!  I remember the feeling of joy and freedom, witnessing a female take on a typically male role and smashing it, I remember the brassy sass, and I remember the songs, bold, fun and energetic.  I have, therefore, been looking forward to tonights performance for some time now, particularly since I heard that Carrie Hope Fletcher was to bring this legendary, trend setting, ahead of her time historical figure to life. 

Known for favouring masculine clothing and pastimes, Calamity Jane is based on the true-life sharpshooter who rose to fame for her dare devil antics and association with Wild Bill and his Buffalo Bill’s Wild West Show.  Her infamous tricks whilst riding a horse and her robust, rowdy persona were legendary.  Calamity Jane lives by her own rules, shooting up any that don’t suit or are unjust.  So, when she gets involved in trying to help local bar owner Henry out of a pickle, as always with Jane, things have a habit of getting out of control.  Henry has been trying to cover up the fact that his star turn performer is actually a man in disguise, so Jane hot foots it to Chicago to bring back famous actress Adelaide Adams to appease the crowds.  But Jane brings back the wrong person, mistaking Katie – Adalaide’s maid – for the woman herself.  Back in Deadwood, a guilt ridden Katie confesses who she truly is, and once again Calamity Jane is left to sooth the angry crowd, persuading them to give Katie a chance to win them over.  And win them over she does, including the object of Janes affection, Danny.  A few mad love triangles later, and things work out as Calamity Jane and Wild Bill realise that perhaps they were the pairing made for each other all along.

Director Nikolai Foster brings the joyful, whirlwind wild west projected in the 1954 movie musical to life right in front of your eyes.  The accents are spot on, the gumption and gravitas of each character is enhanced and the underlying themes of love, gender roles, and LGBTQ+ are more present than ever, beautiful wrapped up in one helluvah hoe down!  With an incredible set designed by Matthew Wright, we are thrown right into Millie’s bar in the heart of Deadwood.  With both sides of the stage providing a two-tiered wooden balcony leading focus to the stage at the back, quick scene changes are met via the clever use of chairs, barrels, a piano and subtle lighting. The horse and carriages are brought to life via wheels being placed at the side of the piano which forms the front, and a bench at the back.  It keeps scene changes slick and clean and shows faith and trust in its audiences ability to make believe.

This multi-talented cast work together so cohesively that they feel like a real collective of Deadwood, all knowing the ins and outs of each other and loving each other for better or for worse.  Even though the show clearly has lead roles, it somehow never feels that way, with each cast member just as important as the next in terms of what the show needs and relies upon.  Opening with Rattlesnake, characterised wonderfully by Richard Lock, stumbling upon the stage and plucking up the banjo that we had all seen hanging off the main curtain, just a few plucked notes in had the audience immediately recognising the tune and humming along.  There was clearly a lot of love for this musical, and as the applause throughout and standing ovation at the end demonstrated, they gave this show their lip smackin’ approval.  It didn’t take long before one of the shows biggest songs – Deadwood Stage – burst into life, and we were not only whip crackin’ away but left agog at how it played out.  For I have seen dancers on stage before.  I have seen musicians on stage before.  I have seen actors who are also the musicians on stage before.  Have I ever seen actors who are musicians and then dance a huge musical theatre number whilst playing their instruments before?!  Now I have!  I mean, come on!  Talk about mic drop moment!

The whole show flowed beautifully, with outdated cultural language being removed at no detriment to the story.  Though the story still feels very twee in places, such as falling in love after only knowing each other for less than two days, it also gave it a certain kind of bygone charm.  Co-directed and choreographed by Nick Winston, the dance routines and hoe downs made full and inventive use of the space available, with dancers swinging back and forth, and up and down as they effortlessly leaped upon the piano and leapt across the stage and chairs.

Carrie Hope Fletcher (Les Mis, ALW’s Cinderella, Heathers) is whip crackingly spectacular in the lead role of Calamity Jane.  She beautifully embodies this renowned character with a charm and charisma you fall for the second she bustles her way onto the stage.  The clarity of her singing is impeccable, and her ability to switch from comedy to sass, and jealousy to fury with utter conviction, brought the audience to its knees.  Vinny Coyle (Phantom Of The Opera, Aspects Of Love, Mozart: Her Story) is so rootin’ tootin’ good as Wild Bill.  His smooth charm and controlled ability to tease and wind up Calamity Jane are a delight to watch.  Between them, they have created such a vibrant and believable partnership, that you can feel the chemistry, the history and the future that they will promise each other.

Peter Peverley (numerous productions with the RSC, Animal Farm, The Lion, Witch & Wardrobe) as Henry Miller brilliantly shows us the stressed saloon owner, with comedic timing and asides as if he is almost talking to himself.  Again, a wonderful partnership and friendship is delivered between himself and Calam.  Luke Wilson (Much Ado About Nothing, Rockets & Blue Lights, Footloose) as Danny Gilmartin and Seren Sandham-Davies (Charlie & The Chocolate Factory, Kinky Boots, Brassed Off) as Katie Brown shine in their respective roles, particularly as they come together to bring us joy in their playfully timed scenes.

Samuel Holmes (Into The Woods, Curtains, Shrek) had me belly laughing as Francis Fryer, muttering away to himself in his doom and gloom procrastinations of what will become of him.  He knew how to get the best out of his character and every moment was always filled with just that little extra touch.  His partnership with Hollie Cassar (Cabaret, The Ruff Tuff Cream Puff Estate Agency) as Susan was great to see develop and proved to be a popular duo with the audience, with Cassar bringing a strong and dependable Susan who helped Francis (with an I) find his feet.  Molly-Grace Cutler (Beautiful, The Worst Witch) was husky, sultry and bewitching as Adelaide Adams, everything we needed this famous actress to be.

We all need a pick me up in the greyest months of the year, and what better way to do so than catching an absolute classic musical brought to life in all its glory.  It’ll leave you singing its catchy tunes, leave you with the feel good vibes, and you may even leave talkin’ a whole lotta new lingo!  So grab your best bib and tucker, and by hook or by crook, get yourself down to this toe tappin’, fine as gravy, whip crackin’ show! 

Calamity Jane is a hog killin’ time and there ain’t no one gonna speak otherwise!


WE SCORE CALAMITY JANE...




Calamity Jane is on at the Opera House, Manchester until Saturday 25th January 2025.


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