Directed by Catherine Hill
Canberra Repertory, Theatre 3, February 15 to March 2
Review by Len Power
Good comedy has drama just below the surface. Tim Firth’s play, ‘Calendar Girls’, based on
the movie of the same name, is funny, moving and very, very real.
Canberra Rep’s production, directed by Catherine Hill, tells
the true story of a group of women who are members of a Yorkshire village
Womens’ Institute. When the husband of
one of them dies of leukemia, the women devise an unusual fund-raiser in his
memory. Their actions unexpectedly
produce self-doubt and strained friendships.
 |
| Anne Yuille, Naone Carrel, Nikki-Lynne Hunter, Paul Jackson, Liz de Totth, Elaine Noon, Megs Skillicorn |
At the core of this production is the excellent ensemble
playing of Naone Carrel, Liz de Totth, Elaine Noon, Anne Yuille, Nikki-Lynne
Hunter and Megs Skillicorn.. There are
no caricatures here. Their interaction
with each other is precise and believable.
Judi Crane as Marie, the head of this Womens’ Institute, artfully plays
a sour old dragon who eventually shows she’s a real person after all. Jonathan Garland gives a very moving
performance as the doomed husband, John, and the initially ill-at-ease
photographer of Paul Jackson is nicely done.
Good support is provided in well-played cameos by Rob De Fries, Rebecca
Butler, Linda Tregonning, Tracy Thomas and Sam Hannan-Morrow.
 |
| Paul Jackson and Naone Carrel |
The set, designed by Russell Brown, captures the atmosphere
of a faded church hall and changes cleverly into an important outdoor setting. Costume designer, Miriam Miley-Read, has
provided the cast with a practical and appealing set of costumes, particularly
for the Womens’ Institute group who require multiple costume changes. They really look like the clothes those
characters would wear. Sound design by
Jonathan Pearson includes good choices of snatches of tunes that complement the
action and the expert lighting design is by Stephen Still.
 |
| Elaine Noon and Liz de Totth |
 |
| Megs Skillicorn and Nikki-Lynne Hunter |
Catherine Hill, the director, has done a great job with her
cast, producing one of the finest examples of ensemble playing that I’ve seen
in a long time. Her incisive direction
of the important calendar photographs scene creates a memorable end to the
first act. The positive audience
reaction to this scene on opening night was extraordinary and
well-deserved. In a second act that
could be anti-climactic in the wrong hands, the director keeps the pace moving
so that our interest in these people never flags. Catherine Hill’s direction brings out the
warmth, wit and humanity of a good play which covers universal issues we can
all relate to.
Photos by Len Power
Broadcast on Artsound FM 92.7 on 'Dress Circle' Sunday 17 February 2013
