Review: CALENDAR GIRLS THE MUSICAL at Up Stage Theatre

Calendar Girls: The Musical is a heartwarming and humorous production based on the beloved 2003 film Calendar Girls, itself inspired by the true story of a group of Yorkshire Women's Institute members who posed nude for a charity calendar to raise funds for leukemia research. The musical, with a book by Tim Firth (who also penned the original play and co-wrote the film) and music and lyrics by Gary Barlow of Take That, brings this remarkable tale to life with warmth, wit, and a generous dose of northern charm.

The show first premiered under the title The Girls at the Grand Theatre in Leeds in November 2015, followed by a run in Salford in early 2016. It later opened in London’s West End at The Phoenix Theatre in February 2017, where it enjoyed a successful run until July of the same year.

At its heart, the story follows Annie and Chris, two lifelong friends from a small Yorkshire village. When Annie’s husband succumbs to leukemia, the pair rally their local Women’s Institute to create a nude calendar—tastefully shot while engaging in traditional activities like baking and knitting—to raise funds for the hospital that cared for him. What unfolds is a touching and often hilarious journey of friendship, grief, courage, and community spirit.

The set, designed by Arna-Rose Hannan, considering the intimate space, managed to serve the production well. The lighting, crafted by Sue Kinzett, Carl Brieseman, and Jenny Quinn, was subtle and effective, enhancing the mood without distraction.

This production offered a rich tapestry of characters, and while some of the Yorkshire accents could have been more consistent, the sincerity of the portrayals more than made up for it.

Director Sue Kinzett deserves praise for ensuring the action flowed smoothly. The blocking felt organic, a notable achievement given the spatial constraints of the venue.

Amanda Watson (Chris) and Nycki Proctor (Annie) carried the emotional weight of the show with authenticity, delivering believable vocal and dramatic performances. The ensemble of Women’s Institute members each brought something unique to the stage, creating an endearing community. Among the supporting cast, Shane Abrahams (Rod), Christopher Horne (Lawrence and Tommo), and Hope Wright (Jenny) stood out with good performances.

It was also a pleasure to see new faces on stage—Daniel Harmon (Danny) and Melanie Young (Miss Wilson and Tannoy). Encouraging new talent is vital for the continued vibrancy of any theatre group.

The cast faced an unexpected challenge on the night, performing through the intermittent crackle of Guy Fawkes fireworks during a funeral scene. Their focus was commendable.

A special mention must go to the decision to feature live music on stage, which added another layer to the performance. Musical Director Andrew Beban led a talented ensemble, with Neil Carroll on Keys 2 and Dave Wellington on bass—an impressive lineup that enhanced the production.