THEATRE REVIEW:
CALENDAR GIRLS
20 APR/11

JOHN COULBOURN,
QMI AGENCY
Rating: 3.5 out of 5


TORONTO - Happily, they don’t take February as their inspiration, with its dolorous intimations of time without end. And while the production of CALENDAR GIRLS that opened Tuesday at the Royal Alexandra Theatre also sidesteps bitchy comparisons to August and the endless and uneventful dog days of summer, it’s not exactly the social whirl that is December either.

Truth to tell, in the final analysis, with a whole year to choose from, this David Mirvish/Manitoba Theatre Centre production most closely resembles the typical April, filled with sunny promise one moment, transformed into a bit of a sodden slog the next. CALENDAR GIRLS is based on the movie of the same title adapted to the stage by Tim Firth, who also co-authored the movie with Juliette Towhidi.

Inspired by a true story, it’s the tale of a group of women in Yorkshire — all in or approaching their middle years and all rather reluctant members of the local Women’s Institute — who come up with a rather unorthodox scheme to fund a new couch for the waiting room of the local hospital. No bake sales or fowl dinners for these ladies — no siree!

Instead what they put together a calendar comprised of photos of themselves engaged in Women’s Institute-y activities — and to do it, unencumbered in any way by wardrobe. “Nude, but not naked,” as they keep telling themselves. The scheme is the brainchild of the irrepressible Chris (played fittingly by the irrepressible Fiona Reid) who is searching for a way to memorialize the late husband of her best friend and Institute-mate, Annie (Fiona Highet). Annie’s loving husband John (Dan Lett) shows up just long enough to give a few lessons in horticulture and nobility, before dying an obligatory but galvanizing death.

Which, of course, leads to his widow and her best friend doffing their duds for charity, joined by their like-minded sisters of the Institute, all of whom relish the opportunity to shake things up. Kathryn Akin plays Cora, the church organist who marches to her own tune, while Terri Cherniack essays the role of the timid Ruth, ultimately shedding more than just her clothes. Jane Spence’s Celia meanwhile, is still young enough that this form of titillation could be considered as merely par for her course, while as Jessie, Barbara Gordon’s take on the retired school teacher proves anything but retiring.

Of course, there has to be a villain in a story like this, and Brigitte Robinson figuratively dons an iron corset to tackle the role of the hyper-efficient Marie, heading up a supporting cast that includes Kyra Harper, Sweeney MacArthur, Kimberly Rampersad and Gordon Tanner.

Written in a straightforward, episodic style with a punchline in every scene, CALENDAR GIRLS gets an adequate, if rather unimaginative, staging from director Marti Maraden — who seems to be more concerned with local accents and with moving her characters around Robert Jones’ church-hall-on-the-moors set than with establishing any real sense of community amongst her players. Particularly in the supporting roles, there is a sense that lives begin when characters hit the stage and end when they leave it.

What’s more, once the fun of shooting the calendar is over — a process that dominates Act I and owes a major debt to Gypsy Rose Lee, it might be added — and the playwright settles into imparting life lessons, it becomes harder and harder to keep things airborn, despite the fun. All of which conspires, ultimately, to make us hugely grateful for actors like Reid, Highet, Gordon and their castmates — a very talented bunch who demonstrate, with huge enthusiasm and good will, that when they decide to take the cake, age is merely the icing on it.