The iconic story of Calamity Jane has been brought to life once again, this time on the stage, in a revival that has left audiences wondering if it lives up to the memories of the 1953 Doris Day film. The musical, which first premiered in 1961, has been adapted by Charles K. Freeman and directed by Nikolai Foster, with Nick Winston co-directing and choreographing. The story follows the same tangled romantic plot as the original, set in the goldrush town of Deadwood, but the question on everyone’s mind is whether it has stood the test of time. With a talented cast, including Carrie Hope Fletcher as Calamity, the production has the potential to charm both old and new audiences, but does it succeed in doing so?
The story of Calamity Jane is one that has been etched in the minds of many, and this production stays true to the source material, incorporating some songs that never made it to the screen. However, in doing so, it feels like the production is playing it safe, rather than taking the opportunity to update or interrogate the material. The narrative, which is rooted in its time, feels very much in the past, and this is evident in the way the story is told. The result is a polished production that lacks a sense of purpose, leaving the audience wondering what the point of the revival is. Carrie Hope Fletcher delivers a capable and energetic performance as Calamity, bringing charm and confidence to the stage, but even she struggles to make the character shine under the constraints of the stretched love story.
One of the standout performances comes from Samuel Holmes as Francis Fryer and Hollie Cassar as Susan, whose chemistry is easy and engaging, offering genuine warmth and a sense of fun that is somewhat missing elsewhere. Their storyline has the potential to give the show more levity and an interesting narrative, but unfortunately, the script doesn’t allow them enough time to develop. The musical numbers, however, are a highlight of the show, with the cast showcasing their impressive versatility, particularly in the first act where live instrumentals bring a welcome sense of immediacy. The ability of the cast members to move between acting, singing, and playing adds life to the saloon scenes and supports the ensemble well.
However, as the show progresses, the stage becomes increasingly crowded, and what starts as lively eventually becomes visually cluttered. Some numbers feel overwhelmed by the sheer number of moving parts, and Nick Winston’s choreography, while clean, feels at times tentative and others a little too busy. The production’s failure to update or reimagine the dated gender politics and simplistic romance of the original material is also noticeable. Rather than being repackaged with a wink, they have simply been repackaged, which leaves the show feeling like a nostalgic throwback rather than a fresh take on a classic story.
Despite its shortcomings, the production is not without its charms. The cast is talented, and the musical numbers are catchy and energetic. However, the show’s inability to find a balance between staying true to the original material and updating it for modern audiences is evident. The result is a production that feels like it is stuck in the past, rather than embracing the present. The final misfire, where the lights dimmed too early, losing the punchline of the final prop gun, summed up the production’s off-target moments and left the audience with a sense of disappointment.
Ultimately, this revival of Calamity Jane is a sweet and familiar production that will likely appeal to fans of the original film and stage musical. However, it doesn’t seem to know why it’s here beyond giving audiences a chance to relive the story in stage form. With a runtime until April 12, 2025, there is still time for the production to find its footing and make some much-needed changes. Nevertheless, as it stands, the show feels like a missed opportunity to reimagine a classic story for a new audience, instead relying on nostalgia and familiarity to carry it through. With some tweaks and a clearer sense of purpose, this production could have been a real showstopper, but as it stands, it falls short of its full potential.
