Calamity Jane

Calamity Jane’s traditional 1950s views of gender roles may be the reason why the show often sits unperformed for a decade or so before being rediscovered, usually as a showcase for an exceptional leading lady. In Australia in 2016 and 2017, Neglected Musicals presented a stage reading and then a revival production with a musical cabaret makeover by director Richard Carroll. Richard reprises his role as director for this new 2025 production (and Queensland premiere), which features some of his original supporting cast. It also repeats the staging design (by Lauren Peters) that uses audience members seated on stage to help create the Golden Garter Saloon setting. The fast-paced show features fabulous jelly-rolling honky-tonk live piano (Nigel Ubrihien), with some on-stage piano accordion, ukuleles and mandolin courtesy of the brilliant ensemble cast. This multi-talented troupe prove they are up for anything and capable of delivering it as high-energy, high-quality performances.

At the helm is our own superstar of stage entertainment, Naomi Price, as Calamity Jane, giving favourite songs such as ‘The Deadwood Stage’, ‘Windy City’ and ‘Secret Love’ their rightful places in the limelight. Naomi never fails to win hearts and always gives 100% to her roles. She is a gifted and hard-working singer and rightly carries this show as a sparkling lead, while also allowing her ensemble cast mates to shine, and engaging the audience at every minute. In this version, the players arrive on stage and warm up the audience before the show. They introduce themselves and set the scene, soon lamenting the loss of one of their brethren – hence enlisting one of the stage-based audience as their missing bartender. They let us know that their limited number of performers will be playing multiple roles, which leads to several comedy opportunities throughout.

Anthony Gooley caramel-toned singing voice is his strength as Wild Bill Hickok, a character who seems more confused than Calam about his gender role – he acts the alpha male, but seems floored at discovering his own vulnerability. When he sings “my love is higher than a hawk and deeper than a well” (in the beautiful ‘Higher than a Hawk’) it is as if he’s embarrassed to discover that he is capable of such emotion. This coy approach could only be because his romantic affections are stirred by newcomer in town, Katie Brown (Laura Bunting), who could be on Bill’s ideal women pedestal under false pretences. That’s fine, but the same shyness could dilute the later duet with Calam on ‘Secret Love’.

While some supporting songs are strictly B-sides by today’s standards, they do allow for standout performances from the cast. The first act is all about bar owner, Henry Miller (always a treat to see the multi-talented Andrew Buchanan on the stage) trying to keep his promise to entertain the townsfolk. That introduces some splendid comic moments for Darcy Brown as the nervy Francis Fryer, who even allowing himself to be coerced to sing in drag to fulfil his employer’s wish. His ‘Hive Full of Honey’ is delightful. Darcy has some lovely moments with Juliette Coates as Susan Miller (her supporting magic act is adorable). Juliette also plays a wonderfully arrogant Adelaide Adams (cleverly pulling the rug out from under expectations, as all the men in town are enamoured of Miss Adelaide on the strength of a flimsy cigarette card). Sean Sinclair is a perfect Lieutenant Danny Gilmartin, an attractive and confident character who never over-eggs his military masculinity to win hearts. Laura Bunting is great as Katie Brown, especially in her early scenes as the hopeful but hopeless stage star, and then when she must choose between her loyalty to her friend Calam, and her undeniable romantic interest in Danny. It must be difficult not to send up songs like ‘A Woman’s Touch’ where Calam and Katie transform their shared log cabin into a place fit for entertaining their male sweethearts. But the performers tread the line carefully and even manage to instil a sliver of same-sex desire.  

As well as being Musical Director, Nigel Ubrihien is the onstage piano player, adding character and comedy too. With such an exceptional cast, the ensemble moments are very strong, particularly in the second act when we are allowed to forget the in-jokes about international and Brisbane politics, current and weather events. For me, this was more fulfilling as it dropped the staging artifice that distanced me from the drama and romance and left the acting to the performers, not the audience members (old Bartender Joe almost ruined one of the more romantic scenes when he unexpectedly doffed his cap and caused the audience to burst into laughter – but I’m sure this seasoned cast will have a Plan B if their bartender gets too upstagey in future performances!) The ensemble singing of ‘Black Hills of Dakota’ was exceptional and added a welcome quiet and heartfelt moment to the fast-paced action.

With a starry stage design by Lauren Peters, lighting design by Trent Suidgeest, sound design by Geoff McGahan and choreography by Cameron Mitchell, the cabaret-style zing is entertaining and allows you to experience the talents of this energetic and committed cast. There are many nods, winks and chuckles – especially at some of the original musical’s non-PC take on gender roles of the day. The same-sex attraction so cleverly undertoned in the old Doris Day film are sometimes given a rolling-eyed ‘Carry On’ flavour that, sure, gets laughs – but I do miss the crushing pathos of unrequited affection and the elation of true love found. If you expect romantic comedy, then you may feel kept at arms-length from any of the nuanced emotions. However, if you commit to the revival’s cabaret-comedy style, you will thoroughly enjoy this reimagined Calamity Jane.

Find out more: https://queenslandtheatre.com.au/plays/calamity-jane

Beth Keehn

Photographer: Morgan Roberts