Review: Calamity Jane at the Sydney Opera House

Review by Carly Fisher

There are many reasons that Calamity Jane fell into relative obscurity before the Neglected Musicals team picked it up in 2016 - it’s an odd ball show with songs that aren’t all that memorable and a relatively predictable storyline that ends in a series of heterosexual marriages…

Despite its potential flaws, this production is a case in point example of what happens when the creatives behind a show are so brilliant that the source material almost doesn’t really matter anymore. 

After the wild success of the Neglected Musicals showing in 2016, this production went on to a season at the Hayes, at Belvoir, at the Arts Centre Melbourne and beyond because this brilliant team made good ole’ Calamity Jane just that good. Now, years since the Golden Garter last opened its pub theatre doors, the show is back on for a limited run at The Sydney Opera House and after all these years, I was finally in the right place at the right time to see it. 

Richard Carroll’s direction of this show is clever and extremely tight. Working with an elite cast, Carroll has managed to find extra moments of humour and an entirely Queer lens for the show that absolutely make this piece and that bring this old show into 2025. Marked with sincerity and hilarity, Carroll ensures that the show maintains its great pace throughout which make the 2.5 hours feel like they fly. I may not leave the theatre humming along to a song I’ve just heard, but you do leave with almost a whiplash of just how fast paced and funny the last few hours have been.

Sitting in the front row of the tiered section essentially feels like you’re sitting on stage. Half the show seems to take place in the aisle before you, cleverly destroying any old fashioned notion of a fourth wall, and instead establishing an amazing rapport between the audience and the performers. 

Music direction by Nigel Ubrihien is brought to life in the hands of extremely capable actor musicians, led by the one and only Victoria Falconer. At one point or another, almost every performer has an instrument of some kind in hand, something that Carroll really does best in his shows. Choreography by Cameron Mitchell is always a winner - there is a reason that he is regarded as one of the best in this style of Musical Theatre. 

Lauren Peters’ costumes are considered and effective, dancing a fine line of period costumes with relatability for a modern audience. The three very unique wedding dresses at the end are a highlight of Peters’ work. 

Ultimately though, it is the epic cast that dust off this old musical and breathe new energy and excitement into it. As the titular character, Virginia Gay is everything that you expect her to be in this role and more. Clearly so comfortable in this character, the little one liners that slip throughout the script are an example of mastery on stage - we never stop believing that she is Calamity Jane although we are laughing alongside her as Virginia. At one point Gay mentions that this is not as easy as it was six years ago and it is a wonderful like side remark that reminds us how long she has held the reigns of this great production and why she has been so well regarded for it. 

Ryan Gonzalez shines in this production and is often used as the comedic scapegoat. Through this, Gonzalez shows off another feather in their cap of theatrical tricks - I have seem them in a lot of shows but have never noticed them to have a such a strong command of comedy as they ooze in this show. Vocally, Gonzalez is always strong and in this show, really stands out as an excellent Ensemble member. 

It is no surprise but when Victoria Falconer takes to the stage, everyone takes notice! Larger than life and always with the audience in the palm of her hand. Taking on both Susan and Adelaide Adams, Falconer is always a joy to watch but for me, there is nothing as exciting as watching her command instrument after instrument so effortlessly and then jump around vocally from the young wannabe star to feisty female star to a member of the men’s barber shop chorus and beyond. 

Kaya Byrne, Andrew Cutcliffe and Phillip Lowe each offer a strong performance as the men in Calamity’s life. As love interests, town members and at times ensemble characters as well, each offer a perfect balance of strength and comedy. Tyran Stig and Billie Pailin (who no doubt, knowing Pallin’s work, is an exceptional Calamity on Tuesday nights) round out the Ensemble and by being throughout the audience during the show, really just help us feel was though we are right inside Deadwood, ready for the show. 

However, for me it is Kala Gare, the final cast member who takes on Katie Brown, that it is impossible to take your eyes off throughout the entire show. Not only is she vocally perfect, there is something so endearing about watching Kala’s beautiful smile on stage that you cannot help but cheer for her from the second she starts laughing and dancing in the aisles. Offering a brilliant mix of innocence as the shows ingenue, and power as Katie Brown finds her own way, Gare is outstanding. 

Calamity Jane isn’t a musical I would want to see if done by any other team. But when a team like this gets together, honestly it wouldn’t matter what the source material was, because you know that in their hands you are primed for an excellent night of theatre. 

Shows like this are a reminder of the excellence of Australian theatre creatives and I for one, could watch that all day, every day! 

Image Credit: Daniel Boud