|
Presented by arrangement with
Nick Robinson for Stage Taylor Ltd presents
Calamity Jane
Adapted for the stage by Charles K. Freeman
From a screenplay by James O'Hanlon
Music by Sammy Fain
Lyrics by Paul Francis Webster
Directed by Thom Southerland
Musical Direction by Mark Aspinall
Choreography by Phyllida Crowley Smith
Lighting Design by Howard Hudson
Designed by Robin South
Upstairs at the Gatehouse
4 June – 3 July 2010
A review by James Buxton for EXTRA! EXTRA! Upstairs at the Gatehouse is a friendly, family run theatre situated in leafy Highgate, set above a mock Tudor style pub. As London's highest theatre at 446 ft above sea level, glimpses of the sprawling cityscape reveal themselves through gaps in buildings outside the pub, while upstairs in the black box theatre you find yourself transported into the straw light of a seedy saloon set in Deadwood, South Dakota, late 1800's. Calamity Jane is based on the 1953 film musical starring Doris Day, which is in turn based on a real woman, Martha Jane Cannary Burke (1852 – 1903). Burke was a fiercesome frontierswoman who helped to quell Native American Indian uprisings and force them out of their habitat; apparently earning her nickname “Calamity”after rescuing a Captain who had been shot in an ambush:“I name you Calamity Jane, the heroine of the plains.” he said as she draped him across her fleeing stallion. Whether Burke herself was liable to break out into stirring musical numbers inspired by the Black Hills is unknown, but one thing is for sure; Southerland's production manages to capture the hot-headed, gung-ho spirit of the Wild West with enjoyable relish. Most of the action takes place in The Golden Garter, an old saloon bar. Designed by Robin South, the set is an immersive imitation of an old saloon in the deep South. A narrow stage at the back of the set with red curtains and gold shell footlights highlights the importance of performance and entertainment in the musical as the whisky soused cowboys holler for a ho down at every possible moment. Beneath the stage a pianist, violinist, banjo/guitar player and drummer all dressed like cowboys and showgirls help to create the raucous atmosphere and their invigorating live music supports the songs seamlessly while their presence on stage enhances the atmosphere. The Choreography by Phyllida Crowley Smith is of an extremely high standard and the ensemble express their excitement or indignation, in a series of energetic, bar brawls, tumbling over one another, sliding over tables and dancing arm in arm. The whole effect is one of non-stop rowdiness where the ensemble, go from one extreme to the other. Laughing and singing rousing songs, to dramatically freezing, or drawing their pistols on one another at the slightest excuse in a show of border land bravado. Katherine Eames as Calamity Jane in her suede jacket complete with tassels, Republican cap hiding her blonde hair and cowboy boots looks every inch the part. Songs burst out of her small frame in a Southern accent that remains credible throughout the performance. Although highly difficult to escape from the giant shadow of Doris Day, Eames does the role justice and creates the hot-headed, tomboy character with entertaining vigour. Wild Bill Hickock, played by David Anthony commands the stage in black cowboy hat, waistcoat and Kentucky Colonel tie. Often standing legs apart with his thumbs looped around his belt in an imposing manner, he provides a steady anchor, in contrast to the jaunty, young men in waistcoats who scramble around the stage, falling over one another as they swing women in fancy dresses from side to side. Anthony's deep Southern accent carries and harmonizes well with Eames in their exciting musical exchanges of conflict and resolution. Anthony manages to display a toughness and sturdiness that also gives way to a tender side as his narrowed eyes and scowl give way to a hearty smile. Katie Brown, played by Bonnie Hurst balances Eames's rowdy nature, as a lady of refined airs, impersonating her mistress, the famous singer Adelaide Adams (Catherine Merry) from the city of “Chicagee”, in her underwear of baggy red and black striped knee pants and corset. Brown's soft voice and wide eyes contrast well with the brash action of Eames, allowing the male ensemble to gawp and hanker after her, while she enjoys their attention. The inventive staging is especially memorable in the scene where Katie Brown flees Deadwood by wagon. As Rattlesnake (Frances Campbell) Calamity's elderly sidekick stands on a ladder holding onto reigns, Katie sits beneath her inside an invisible wagon, while members of the ensemble swing lassos beside as through they were wheels and hold onto her luggage, moving them up and down in time, creating an effect of a bumping wagon. Calam' meanwhile stands on a chair with one foot on its backrest as if she were riding a horse alongside. Southerland creates imaginative ways of recreating moments originally designed for cinema and allows them to explode into life in the confined space of the theatre. Southerland's production of Calamity Jane stays true to its Warner Bros origins and provides a whip cracking, riotously enjoyable show. The musical actually gains from being a live performance as the audience are caught up in the excitement on stage and by the end we were all clapping along to Fain and Webster's patriotic, catchy songs. The musical is lead well by Eames and Anthony who despite lacking any on stage chemistry make up for it with their larger than life characters and strong singing voices. At its’ heart however, Calamity Jane is an ensemble performance that owes a great deal to Smith's excellent choreography and the dedication and energy of all the cast; who appear to be enjoying themselves even more than the audience.
Upstairs at the Gatehouse
£12 (£10 Concesions) Saturday £15 (12 Concessions) http://www.upstairsatthegatehouse.com/
Copyright © EXTRA! EXTRA All rights reserved
|
