The set designed by Gary McCann of a Methodist Church hall places Calendar Girls at the bosom of middle-class England, the absolute heartland of the Women’s Institute, which was about to celebrate its first hundred years. How they would commemorate that momentous occasion is the crux of this production.
The play opens with Ruth (Maureen Nolan) baking in the hall and singing Jerusalem. Others drift in and join in with the song while preparing the room for a meeting.
Marie (Liz Carney) is in charge and the W.I. is her world. Any poor reflection on the Institute is a slur on everything England stands for, so a good choice of subject for the annual calendar is paramount. A choice that beats their close rivals the Rotary Club.
The talk is about organising a lecture on tea towels, the history of the Milk Marketing Board, and home brewing. John (Colin R Campbell) brings in a bottle of his sunflower wine for a tasting while he waxes lyrical over its qualities.
Before long we discover that John is dying and the inevitable loss is evident in his wife Annie (Laurie Brett) whose focus is now taken away from W.I. stuff. Hospital scenes show her despair.
A mock-up of the next calendar is revealed: a teapot, a pot of plum jam… It inspires nothing much else other than derision as a potential winner and fundraiser. And as for celebrating the 100th year of their society, it was obvious something better was required.
Lighter moments are added with Chris (Samantha Seager) cheating in a cake competition with her Victoria Sponge bought from M&S; and half the women still being afraid of Jessie (Lyn Paul), who used to be their teacher. And Calendar Girls does not shirk away from the darker side of secret drinking and domestic violence.
A chance glimpse of one of their teenage son’s Dutch calendar of girls posing naked with tulips sparks an idea of posing nude – but coyly hidden behind the mainstay of W.I. life: flowers, buns and jam.
Of course, such an outrageous notion caused mayhem at the meetings. Many excluded themselves from the offset, but a core group were able to see the benefits. Marie was not at all impressed and her board of trustees vetoed the idea straightaway.
This though, had the effect of galvanising the faithful even more so they took their cause to the annual W.I. Conference where they told the gathering of their plans.
The rest, as is often said, is history. With their reluctant photographer cajoled into taking the job, a calendar was produced that changed the world of the W.I.
And when the women showed their true strength and posed for that calendar, the whole audience felt their anxiety and fell in behind them for support.
Alas, the many heartwarming scenes make up for an underlying flatness to this production. Written by Gary Barlow and Tim Firth it has all that should be needed for a great show but it was quite lacking in drive in places; the songs were merely sung out to the auditorium instead of to each other with emotion, there was very little movement and the little atmosphere created was hardly enough to laugh at the jokes.
But, I must add that the audience loved it and were up at the end to give a rousing ovation.
Churchill Theatre, High Street, Bromley, BR1 1HA until 13th January.
2.30pm & 7.30pm.
Admission: £22 – £52.
Booking: www.churchilltheatre.co.uk
