Review by Daz Gale
⭐️⭐️⭐️
A classic musical is rolling into town as the Watermill Theatre’s whip-crackin’ production of Calamity Jane returns to the UK, embarking on an extensive UK tour for the first time in 10 years and featuring the long-awaited musical theatre return of Carrie Hope Fletcher. With expectations high, would this production prove to be a cracker of a show?

First seen as a 1953 movie starring Doris Day, the stage adaptation of Calamity Jane premiered in 1961. It was last seen in the UK in 2015 after the Watermill Theatre production from the previous year toured the UK. Based on a real person, Calamity Jane is described as the biggest mouth in Dakota territory and always up for a fight. When she brings Chicago stage star Adelaid Adams to Deadwood, the men go wild for her much to Calamity Jane’s annoyance. As jealousy shoots out of her like a bullet, will she work out who has her heart?
Adapted for the stage by Charles K Freeman, Calamity Jane may not feature the biggest of plots in the world but it makes up for that with pure fun in a harmless romp designed for maximum enjoyment. Those who grew up with the film are certain to love the nostalgia of this and the new take on a classic, and looking around the theatre at the performance I was at, it was heart-warming to see the joyous reactions of many who were transported back through watching this production. On the contrary, this was the first time I had seen the story either on stage or screen and struggled to find any sort of connection to it, as much as I tried. It’s a true example of the subjectivity of theatre, however, as I couldn’t fault the story but certainly didn’t experience the same thrills and joys of my fellow audience members – as much as I wish I had.

Nikolai Foster and Nick Winston’s direction brings the town of Deadwood to life with some creative and often comedic choices, making full use of every time Calamity Jane shoots. Winston’s choreography elevates the production exponentially, with ensemble numbers proving the most captivating moments. As I was reviewing a performance in the opening week of the tour, it did feel a little bit rough around the edges at times though this actually works for the context of the show and adds to the charm of it. With it being so early days, it was clear to see this wasn’t quite fully bedded in as well as it could be though I have no doubt this will get a lot slicker as the tour progresses.
It’s been a while since we have seen Carrie Hope Fletcher in a musical so to have her back gracing a stage and blessing audiences up and down the country with her talents is enough reason to go and see this production of Calamity Jane in itself. Taking on the title role, Carrie delivers a performance markedly different from her previous roles but one that showcases her versatility and abilities as a performer. Bringing more comedy and sass into the role, she effortlessly demonstrates why she has become such a well-loved name in theatre in recent years. Anyone expecting big vocals this time around will see a more restrained side, though Carrie’s voice remains as beautiful as ever, at its very best on the tender climactic musical number ‘Secret Love’.

Vinny Coyle thrills in his role as Wild Bill Hickok with the kind of stage presence demanding eyes on him throughout, while late addition to the show Samuel Holmes is a comic highlight as Francis Fryer. Molly-Grace Cutler gives a delightful turn as Adelaid Adams despite being wildly underused, with Seren Sandham-Davies an undoubted standout as Katie Brown in an impressively strong performance.
I must admit to being unfamiliar with the majority of songs in Calamity Jane though opening number ‘Deadwood Stage;’ was every bit as (whip) cracking as you would hope. ‘Black Hills Of Dakota’ provided a sweet singalong moment feeling like a time capsule in itself for many around me in the audience, while Vinny Coyle gets a musical highlight in act two opener ‘Higher Than A Hawk’. Carrie and Vinny show fantastic chemistry with their changeable love/hate relationship demonstrated brilliantly in standout duet ‘I Can Do Without You’ while ‘Tis Harry I’m Plannin’ To Marry’ proves an earworm, especially with its multiple reprises.

This production features a cast of actor-muso’s though I’m unsure how much this actually adds to the show. Though I am usually a fan of this in musicals, it needs to feel right with the story and elevate it, otherwise it can just feel like a novelty. It’s hard to question the talents of the cast in playing instruments in their roles though the inconsistencies in those who did and didn’t proved jarring at times, particularly in one moment where a cast member performs a number, holding a guitar while not playing a single note on it as one of his fellow cast members behind him fills in the gaps. Perhaps a minor quibble, but when a show such as The Curious Case Of Benjamin Button uses actor-muso’s in the best possible way, I would have liked to have seen Calamity Jane use them better than they do.
It's important to reiterate that this review is based on an early performance of the tour. Had I gone a few months into the run, I may have found this a different experience altogether. Though there is nothing wrong with this production of Calamity Jane per se, I found it hard to connect, despite the many strengths this show and production have going for it. Definitely an easy-going, safe show that is perfect for those longing to experience a bit of nostalgia though I longed for something to allow other generations to also fall in love with it. It might not be quite as cracking a show as I had hoped but it is certainly nowhere near a calamity either.

Calamity Jane tours the UK & Ireland until 27th September 2025.
Photos by Mark Senior