Calamity Jane as presented by St. Agnes Choral Society

St. Agnes’ Choral Society 

Calamity Jane 

Saturday 16th November 2024 

The Grand Opera House in Belfast is a wonderful venue. It is difficult not to feel the very palpable ambience, history, and character which its walls exude. And so, how lovely it was to experience an ‘old school’ musical in this historic theatre, which is over a century old. If indeed first impressions count, then St. Agnes’ Choral Society’s production of ‘Calamity Jane’ hit the ground running before a word of dialogue was spoken. There was something quite joyous and uplifting about hearing a huge choral sound right through the exquisitely played overture. Only it wasn’t the cast making that sound. It was the audience. Hundreds of voices singing ‘The Black Hills of Dakota’ set a glorious tone for what would be a most entertaining and memorable production of a true classic. 

As one might expect, the front of house arrangements were excellent in the large and busy foyer of the Grand Opera House. Staff were friendly, courteous, and most efficient. I was greeted by the society representative, who shared many interesting insights into the theatre and the vibrant musical theatre scene in Belfast. As we filtered into the theatre, pre-show, the curtain was open and the Golden Garter was already open for business, with a guitar-playing old-timer banging out a tune in what was a nice, original touch by director, Laura Kerr. 

Ms. Kerr gave us a superbly crafted version of this classic tale. The story may be over seventy years old but it is still relevant and entertaining. There is comedy galore, love stories aplenty and lots to be explored about challenging traditional gender roles and stereotypes. Ms. Kerr got it all and had great fun with every element. Comedy was strong, as were the more tender moments. Characterisation and attention to the narrative detail were impressive. There was great use made of the enormous playing space and Ms. Kerr ensured that the pace rattled along like a freewheeling stagecoach. 

Andrew Robinson’s musical direction was top notch. From the opening bars of the sumptuous overture, we knew that this was going to be a musical feast of a show. And what a feast it was. The orchestra, superbly mixed by the sound department, was simply stunning. We may as well have been listening to the movie soundtrack, such was the incredibly rich sound, superb musicianship, and excellent balance of this wonderful fifteen-piece orchestra. Mr. Robinson conducted with considerable flair and was clearly offering great support to the company on stage. The gentlemen in ‘Adelaide’ sang beautifully and, throughout the show, we heard exquisite, well-balanced harmonies. 

Choreographer, Amy Blackshaw, was very clever in how she used her very large cast. Full ensemble numbers weren’t overly intricate but the excellent precision, confident execution and high-performance levels across the cast meant that numbers like ‘The Deadwood Stage’ and ‘Windy City’ were extremely impressive. The smaller dance groups also excelled in numbers such as ‘It’s Harry I’m Planning to Marry’ and sections of ‘Windy City.’ 

Of course, the entire show practically hinges on one performance. How blessed we were to have Lorraine Jackson in the titular role. Ms. Jackson was captivating as the sharpshootin,’ straight talkin’ frontierswoman, Calamity Jane. She was brash and rough around the edges, entirely believable as the tomboyish spinner of dubious yarns. And yet, there was an endearing vulnerability about her performance that drew the audience in, ensuring that her characterisation avoided caricature, in what was a very balanced and nuanced portrayal. Ms. Jackson traversed the line between hilarity and sincerity so seamlessly. And then she sang ‘Secret Love.’ I can only describe her performance of this song as a tour de force, standout moment. It was quite remarkable on every front. From the heartfelt sentiment to the soaring, powerful vocal which never once faltered, this was a fabulous rendition. 

I really enjoyed Kyle Emerson’s performance of legendary figure, Wild Bill Hickock. Again, Mr. Emerson avoided caricature, balancing strength, and masculinity with a sprinkle of heart and sincerity. The relationship between Bill and Calamity was well developed and Mr. Emerson worked very well with Ms. Jackson. His lovely, rich baritone was easy on the ear, particularly in ‘Adelaide’ and the gorgeous ‘Higher than a Hawk.’ It was a really authentic, down to earth portrayal. 

Gareth McGreevy cut quite the dashing presence as Lieutenant Danny Gilmartin, the focus of Calamity’s affections. Mr. McGreevy had excellent stage presence and clear delivery of dialogue. There was a lovely rapport between himself and Ms. Jackson and the subplot between himself and Katie Brown was tenderly played. He also sang very well. ‘Love You Dearly’ was one of many musical highlights in the show. 

Aideen Fox was an excellent Katie Brown. Ms. Fox is a very talented actor but also a skilled comedienne with super timing. Her impostor syndrome, as she nervously tried to dupe the gentlemen of Deadwood into believing that she was, in fact, Adelaide Adams, was played so well. ‘Keep it Under your Hat’ was excellently sung and performed with a deft comic touch. Once again, Ms. Fox played Katie with an underlying sincerity that really worked, allowing us to forgive her initial deception of Calamity. 

There was no doubting that Kevin McReynolds, as saloon proprietor Henry Miller, is a very talented man with all of the tools necessary to play the role. He had good stage presence; his accent was strong and he had a most expressive face. However, I did feel that Mr. McReynolds needed more guidance in trusting the book and giving more consideration to the lines. I felt that he played things in a very over the top manner and that he needed to be reined in. again, I have to stress that the talent was clearly there. I just felt that it needed some coaxing to get the balance right. 

Helen Smyth was lovely as Harry’s niece, Susan. She was a great dancer, had excellent stage presence and great expression in her delivery of dialogue. This was a really well-rounded performance in what can sometimes be a throwaway role. 

Sam Nolan was a very likable and funny Francis Fryer. He was another very strong performer who wrung every last drop out of his character. A fine character actor, Mr. Nolan’s ‘Everyone Complains About the Weather’ was a super number, delivered with great flair, a fine voice, and a keen understanding of its comic potential. 

Fiona Keegan was a very strong Adelaide Adams. Her delightfully full vocal was excellent in ‘It’s Harry I’m Planning to Marry.’ There was a tendency sometimes to play dialogue directly to the audience rather than to the character she was addressing on stage. That said, her dialogue was very clear and well delivered. 

Sean Allen impressed as Rattlesnake and he sure scrubbed up well for the wedding. Stephen McQuillan did very well as Doc Pierce. There was strong support too from Paul Maguire as Joe, Jarlath Burns as Hank, Andrew Johnston as Pete, Pat Smyth as Col of Fort Scully, and Callan Hamill as Prospector. 

This was a very large and committed Ensemble who were very well-rehearsed and looked like they were enjoying themselves no end. They had a fabulous, collective energy and were always engaged and focused. Their choral sound was magnificent and they were dramatically responsive, when required. Their dance routines, cleverly devised and so well rehearsed, were so precise and very well performed. 

Stage manager Andy McKnight and his excellent crew did a wonderful job. Fly cues were meticulously timed, trucks were smoothly positioned and struck, and changes flowed seamlessly, contributing greatly to what was a very pacy and fast-moving show. 

The very large, hired set, worked perfectly on the Grand Opera House stage. The imposing Golden Garter truck was set very far upstage left. The trucked ‘stage,’ which moved on and off very smoothly, was a great addition. Adelaide’s dressing room was very impressive with its working doors and the cleverly hinged cabin ‘transformation’ worked very nicely too. The fabulous backdrops added greatly to what was a visual feast of a show. 

Props were meticulously chosen, with superb attention to detail noted in all areas. Francis Fryer’s suitcase, Henry’s pocket watch, the carpet beater, wooden trunk, wooden bucket were just a few of the fine array of well-chosen props which were authentic to the era. But it was the full-size stagecoach, with Calamity on top, that really stole the show as it was wheeled on. Lighting was excellent, perfectly complementing the tone and mood of every scene. There was beautiful use of two follow spots. These were sometimes in a soft focus, barely noticeable. At other times, such as when Katie was performing her ‘show’ song, it had a sharper edge. There were some gorgeous changes within musical numbers, beautifully capturing shifts in mood. Gobos and haze were used to great effect to help create some very atmospheric states. 

Similarly, sound was top notch. The orchestra was mixed to perfection and there was an incredibly well-balanced choral sound, all the more surprising because of the sheer numbers on stage. I didn’t observe any missed cues on the night; however, I did feel that a little bit more support for underscored dialogue would have been helpful. 

Costumes were brilliantly authentic and everyone was turned out so well. How great it was to see so many authentic cowboy hats and boots. The showgirls’ red, white, and blue were very striking. So too were the ‘bride’ dancers’ ensembles, with their veils, their long white gloves, and dresses. Calamity’s iconic look was very authentic, as was Danny’s uniform. A super, detailed plot, which must have taken a huge amount of coordination. Well done to all. 

Hair and makeup appeared appropriate to the era. Wigs were well-chosen and well-styled. There was great fun had with Francis Fryer’s hair and make-up for his ‘Hive Full of Honey.’ 

This was a wonderful production of a timeless classic, in one of the finest venues that the country has to offer. A strong production team, technical crew, and some wonderful casting decisions, made this a show that will live long in the memory. Thank you and well done on a superb performance. 

Pat McElwain 

Gilbert Adjudicator 2024/2025

Some photos shared by the society; Photos by Nicola McKee