Calendar Girls

by Tim firth

Based on the true story of eleven WI members who posed nude for a calendar to raise money for the Leukaemia Research Fund, Calendar Girls opened at the Chichester Festival Theatre and has since become the fastest selling play in British theatre history.

When Annie's husband John dies of leukaemia, she and best friend Chris resolve to raise money for a new settee in the local hospital waiting room. They manage to persuade four fellow WI members to pose nude with them for an "alternative" calendar, with a little help from hospital porter and amateur photographer Lawrence. The news of the women's charitable venture spreads like wildfire, and hordes of press soon descend on the small village of Knapeley in the Yorkshire Dales. The calendar is a success, but Chris and Annie's friendship is put to the test under the strain of their new-found fame.

Based on the Miramax motion picture by Juliette Towhidi and Tim Firth.

Noda Review

Author: Joyce Handbury

Calendar Girls is a play by Tim Firth and is based on the film of the same name by Juliette Towhidi and Tim Firth. Following the death of Annie's much-loved husband John from Leukaemia, she and her best friend Chris resolve to raise money for a new settee in the local hospital waiting room. They manage to persuade four fellow WI members to pose nude with them for an 'alternative' Calendar, with a little help from hospital porter and amateur photographer Lawrence. The news of the women's charitable venture spreads like wildfire, and hordes of press soon descend on the small village of Knapeley in the Yorkshire Dales. The calendar is a success, but Chris and Annie's friendship is put to the test under the strain of their new-found fame.

A truly wonderful warm and endearing performance came from Louisa Jenkins as Annie. The chemistry between her and her husband was palpable and she was so distraught when he husband died but was determined to raise money in his memory along with her best friend Chris. For the Calendar Louisa (Annie) was February and she appeared behind the room's hatch with a cup and teapot held in 'appropriate places'. When it all seemingly went pear-shaped with Chris, she still managed to tell her a few home truths in quite a dignified but purposeful manner before then, storming out.

Adela Green excelled as Chris who was the main driving force behind the calendar. She brought out the energy, brashness and wit of the character with great self assuredness. When initially trying to persuade the members about her idea for the calendar she quite brazenly takes off her bra and then her top to bare all - but it was most discreetly achieved and later when she was trying to explain how she had made her 'winning sponge cake' it was just so funny - a great performance and a lovely accent. Adela (Chris) was October and she was hidden behind a tower of flowers, as befitted a florist.

Rachel Robinson gave another fine portrayal as Cora, the pianist for the group. She so confidently delivered the directness yet warming nature of the character together with her concerns for her daughter so superbly. Rachel (Cora) was July and her 'attributes' were hidden behind books.

Tracey Wilkinson was excellent as Jessie, a retired school teacher. Jessie may have been retired but Tracey brought out the resentments and defiant nuances of the character, particularly those regarding age, with great forcefulness and bluntness but with an overriding comedic brilliance non more so than when she revealed to Lawrence that she had taught him. Tracey (Jessie) was January and was well 'covered' behind knitting.

What a sassy, sexy, flamboyant, vodka drinking, golf fanatic Celia was, as portrayed by Karen Jones. From her many provocative outfits to her humorous witty retorts she was superb. When it came to drawing straws to see who would be photographed first, Celia drew the 'short straw'. A trolley was brought on laden with cakes and Tracey (Celia) suddenly appeared from behind it holding just two doughnuts - I'll leave the placing of them to your imagination!

Yet another excellent portrayal came from Kat Fenton as Ruth. She totally captured the nervousness and the timidity of Ruth so delightfully but she does find an inner strength and her outburst at the beauty salon was sublime. Kat (Ruth) was November and a table magnificently covered with jars of marmalade, sugar and oranges appeared and stretched out on the back of it, lay Ruth. I must add at this juncture that all these 'appearances' were so innovatively achieved behind two photographic reflectors. All organisations do need a person to take charge of proceedings and here we have Marie, who takes her position in the WI seriously.

Sara Noble-Nesbitt was absolutely splendid, she portrayed the forthright, rather stuck-up and unwavering nature of Marie so seriously and stridently and her stage-faint, on seeing the 'calendar', was fantastic. She did however 'come round' to the situation with an outrageous bout of enthusiasm. Tina Hampton played two roles that were poles apart but both were strikingly delivered. Firstly, as Brenda Hulse a 'speaker' whose topic was 'The Fantastic World of Broccoli', she so very slowly and boringly began to give her talk. Fortunately, following an electrical mishap, for the smirking members, it didn't last long!! Later, in all her finery, accompanied by Marie also dressed to the nines, she was Lady Cravenshire and Tina definitely was the epitome of an upper-class superior being with very affected mannerisms.

Excellent support came from Ciara Beighton as Elaine and from Rachel Humphries as Mandy. Mik Horvath was outstanding as John, Annie's husband. At the start he was a fun-loving, outgoing and good natured man, loved by his wife and friends but his terminal illness soon took its toll and he became a wheelchair user. His speech was slurred and breathless as he spoke of 'The Flowers of Yorkshire are like the Women of Yorkshire'. Soon after however, with his wife and friends standing by him, he suddenly stands and walks to one side and in a spotlight talks of his beloved sunflowers. It was such a poignant way to depict the end of his life, it was so moving and so heart-breaking, tears just ran down my face. Chris's husband Rod was convincingly played by Nick Mothershaw as was Lawrence, the photographer, by Gary Rowley.

There is no stage in the Hall and the simple set, representing the meeting room for the WI,consisted, along the back wall, of a row white painted flats, one of which included a hatch, with curtained exits at either side. There was a piano, a small bookcase, stacked chairs and a picture of Queen Elizabeth and one of King Charles. The props were truly magnificent and as well as the aforementioned accoutrements for the taking of the photographs, we had two massive piles of Christmas presents, a decorated tree and of course oodles of sunflowers. The props team of Patricia Church and Karen Jones together with members certainly did an amazing job. The costumes were excellent and different outfits showed the passage of time as did the various seasonal events that took place along with the lovely back projections. The lighting was spot on as was the sound and I must add, that the choices of music played throughout were just perfect as was the singing, several times, of 'Jerusalem'. The ending was so impressive, so emotional and somewhat so calming after what had been a performance full of humour and yes, untold sadness. Many congratulations to Director Patricia Church, to all the backstage workers and indeed to everyone involved but most of all, every accolade must go to the absolutely awesome cast and especially to those six exceptionally brave ladies who nearly bared their all. This was a first-class production of the highest standard. Many thanks also, for the warm welcome that I received.