The Calendar Girls are back! And they’re ready to share all things plum jam, sunflower growing and nude calendar making.
This brand-new production of the award-winning musical, written by Gary Barlow and Tim Firth, features a re-imagined book and new music! With unforgettable songs, each performance continues to add to the millions already raised for Blood Cancer UK and proves that there is no such thing as an ordinary woman.
Following the death of a much-loved husband, a group of ordinary women in a small Yorkshire Women's Institute are prompted to do an extraordinary thing and set about creating a nude calendar to raise money for charity. Along the way, these women endure an emotional journey and face personal ramifications. But the fabulous and funny calendar brings each woman unexpectedly into flower.
Calendar Girls the Musical brings together a stunning cast of music, stage, and television stars, including 5 Mrs Johnstone’s from Bill Kenwright’s production of Willy Russell’s hit Blood Brothers. This production boasts some incredible stars such as Tanya Franks (Eastenders), Maureen Nolan (The Nolans), Lyn Paul (The New Seekers), Amy Robbins (Coronation Street), Paula Tappenden (Theatre Star), Marti Webb (Tell Me on a Sunday) and Honeysuckle Weeks (Foyles War) as the ladies, turn preconceptions upside down, but are they prepared for the emotional and personal ramifications they will face as they each come in to bloom? The chemistry between the cast members was special to watch. Their performances were heartfelt and full of emotion.
The set was simple yet effective. It was a largely constructed community by killing that was a brightly lit open space. It served as the setting for all the scenes with other props indicating a change of room which was an effective idea.
The audience was in hysterics at many of the entertaining one-liners delivered. Some were iterations from the film version whilst others were originally crafted. All the ‘Calendar Girls’ had this remarkable ability to be able to delicately balance the humour against the sadness of the production, flitting between the two.
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