★★★ Review: Calamity Jane Gallops onto the Lyceum Stage, but Ultimately Misses its Mark

The Cast of Calamity Jane, photography by Mark Senior

The rip-roaring, gun-slinging Calamity Jane musical is back on tour across the UK, and we had the chance to attend the opening night at Sheffield Theatres.

Starring Carrie Hope Fletcher in the iconic title role, this revival definitely tries to energise its audience with the spirit of the Wild West, however it doesn't always manage to hit the mark.

The first professional UK staging of Calamity Jane actually premiered right here in Sheffield, at the Crucible Theatre in 1974. Loosely based on the real-life frontierswoman Martha Jane Cannary (whose life was far more tragic than the musical suggests), Calamity Jane draws heavily from the classic 1953 Technicolor film starring Doris Day. The Western, blending comedy, romance, and adventure, became a Hollywood staple thanks to its catchy tunes and Day’s charming performance. The music was composed by Sammy Fain, with lyrics by Paul Francis Webster and went on to earn an Oscar for Best Original Song with 'Secret Love'.

The stage adaptation, with a book by Ronald Hanmer and Phil Park, retains many of the film’s beloved numbers, including 'The Deadwood Stage,' 'Windy City,' and 'Secret Love.' Carrie Hope Fletcher is undoubtedly the heart of this production. Fletcher lights up the stage, particularly during 'Secret Love,' delivering the emotional ballad with grace and power. However, despite her charismatic presence, the character of Calamity Jane itself doesn’t feel particularly modern or empowering by today’s standards. This isn’t Fletcher’s fault, but it’s the script’s unwillingness to reimagine the role for contemporary audiences.

Vinny Coyle, playing Wild Bill Hickok, certainly has the smoulder and swagger, but unfortunately, much of his dialogue was difficult to understand. Whether it was his choice of a Southern drawl, an issue with acoustics, or inconsistent projection, the result was the same: lines fell flat, one-liners missed their mark, and several awkward silences followed as the audience struggled to catch what was said. Audible whispers of “What?” and “What did he say?” echoed throughout the theatre, suggesting it wasn’t just an isolated experience.

The set design, however, was a real highlight. With clever staging and props including wooden chairs doubling as horses and stagecoaches, it was an immersive and inventive Wild West experience. The use of on-stage musicians added even more energy, with cast members doubling as the pit orchestra. They were consistently onstage, singing, dancing and playing their instruments which was very impressive.

Ultimately, though, the production struggles under the weight of its dated script. Many of the so-called “jokes” felt misogynistic or simply fell flat, prompting little more than polite chuckles or uncomfortable silence. This Calamity Jane has its charms, but it’s also a reminder that some stories may need more than a fresh coat of paint to truly resonate today.