Tag: Calendar Girls The Musical

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REVIEW: York Musical Theatre Company in Calendar Girls The Musical, Joseph Rowntree Theatre, York, until tomorrow ****

Coming to terms with loss: Alexa Chaplin ‘s Annie in York Musical Theatre Company’s Calendar Girls The Musical. All pictures: Gareth Jenkins *

WRITTEN by two Honorary Yorkshiremen from the Wirral, friends-since-schooldays Tim Firth and Gary Barlow, Calendar Girls The Musical plays an immediate crowd-pleasing ace card by opening with a song called Yorkshire.

Premiered under the name The Girls at Leeds Grand Theatre in 2015 and first staged in York by York Stage Musicals at the Grand Opera House in 2022, the show now plays out against All In One Productions’ photographic scenery of the rolling Yorkshire Dales at their most green and pleasant pastured. In front is a dry stone wall with a gate. You can almost smell the ‘Yorkshireness’ of it all.

Welcome to director-choreographer Kathryn Addison’s production for York Musical Theatre Company, with musical director John Atkin in the pit to conduct a band wherein Rosie Morris’s piano is to the fore  (as to be expected when Take That keyboardist Gary Barlow is the composer), complemented by Cameron McArthur’s keys and guitar, Paul McArthur’s bass, Andy Jennings’ percussion and the emotive Yorkshire brass of Ross Simpson’s trumpet and Martin Farmery’s trombone.

From the Yorkshire-wide grin of that opening number, Firth and Barlow then introduce ‘The Girls’, the Knapely Women’s Institute members who will go on to pose for the fundraising artistic nude calendar that launched so many doppelgangers. 

Eve Clark’s Jenny

The new WI chairwoman Marie (Andrea Copeland) may be old-school, all Jam and Jerusalem, dull guest speakers and duller regulations, but as second song Mrs Conventional establishes, these girls can be unconventional, especially Katie Melia’s rebellious Chris, whose sparky individuality so attracted husband Rod (Jack Hooper), who runs a flower shop.

However, the sunshine dims when John ‘Clarkey’ Clarke (Peter Melia), National Park officer, gardener and sunflower-loving husband of best friend Annie (Alexa Chaplin), is diagnosed, spoiler alert, with non-Hodgkin’s lymphoma. 

Struggling to come to terms with the impending loss of this gentle, gregarious giant, Chaplin’s Annie delivers a beautiful rendition of Barlow and lyricist Firth’s outstanding number, Scarborough, with its devastating closing lyric: “And who will protect me/While telling me lies/If you’re not here.”

Those lines are typical of the observant golden touch of Firth, whose script judges perfectly what the crescendo should be (the stripping off one by one for the calendar), while also introducing three teenage children (James Hepworth’s Danny, Eve Clark’s Jenny and Frankie Jackson’s Tommo), who show another side to their parents.

Alison Taylor’s Ruth performing My Russian Friend And I

Firth applies the right balance of pathos, sadness, northern humour and bloody-minded defiance, the tears and the cheers, all heightened by the piano-led storytelling songs that show off another side to Barlow’s songwriting in modern musical set-pieces such as Yorkshire, the carol-singing Who Wants A Silent Night (led by Amy Greene’s  Cora at the piano)  and Sunflower, (fronted by Melia’s Chris).

Barlow’s mastery of balladry is affirmed by Chaplin’s performances of not only Scarborough but also Very Slightly Almost and Kilimanjaro, while Firth’s lyrics lend exuberant humour to So I’ve Had A Little Word Done, the big, brassy, belter for Sarah Brown’s Celia, then a darker sting to vodka-swilling Ruth’s My Russian Friend And I, sung with confessional candour by Alison Taylor, bordering on self-loathing.

Melia and Chaplin bring out all sides of Chris and Annie’s friendship, the light and the shade, the highs and the lows , the contrasting temperaments, the fun and the fall-outs, the grief and the renewal. Around them, Greene’s Cora, Brown’s Celia, Taylor’s Ruth, Copeland’s Marie and the ever-wonderful Sandy Nicholson’s former teacher Jessie savour their moment in the spotlight.  

So too does Nicola Dawson in her cameo as Knapely show judge Lady Cravenshire, Janie Woolgar’s ill-fated WI lecturer, Brenda Hulse, and Paula Stainton and Samantha Cole’s two Miss Wilsons, a double act forever offering pots of tea and coffee.  

Kate Melia’s Chris and Jack Hooper’s Rod in York Musical Theatre Company’s Calendar Girls The Musical

Peter Melia’s John is affable, phlegmatic, humorous, even in the face of a terminal illness, while Jack Hooper’s Rod delivers two homespun homilies on love and marriage that will make even a cynic go all warm and fuzzy.

Hepworth’s disgraced head boy Danny and Clark’s wayward schoolgirl Jenny, who leads him astray, delight in their awkward teenage journey of discovery, joined by Jackson’s ever-cheeky, work-shy Tommo.

No less awkward is Joe Marucci’s Lawrence, the shy photographer  who suggests how the traditions of the WI – knitting, baking, piano playing, flower arranging – should be adapted for the calendar shoot featuring the ladies of Knapely in all manner of shapely.

Aside from some technical difficulties with the sound, Wednesday’s opening night reaffirmed what a wonderful celebration of community, Yorkshire, life, flowers, love, humour, humanity and the power of song Calendar Girls remains.

York Musical Theatre Company in Calendar Girls The Musical, Joseph Rowntree Theatre, York, tonight, 7.30pm; tomorrow, 2.30pm and 7.30pm. Box office: 01904 501935 or yorktheatreroyal.co.uk.

In full bloom: Kathryn Addison’s cast in the finale to Calendar Girls The Musical at the Joseph Rowntree Theatre

* Photographer Gareth Jenkins

BASED in Kirkbymoorside, Gareth is “always happy to photograph creative events at no charge”. Any arts organisation in need of a photographer can contact him on 07875  018888 or 01751 430116.

Check out his website at: www.viewfromwithout.com.

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Make a date with Katie and Alexa’s Chris and Annie in York Musical Theatre Company’s Calendar Girls The Musical

Katie Melia’s Chris, centre, and Alexa Chaplin’s Annie, right, in rehearsal with Sandy Nicholson’s Jessie in York Musical Theatre Company’s Calendar Girls The Musical

KATHYRN Addison is directing York Musical Theatre Company in Cheshire childhood friends Gary Barlow and Tim Firth’s musical account of a thoroughly Yorkshire true story, Calendar Girls, from Wednesday to Saturday at the Joseph Rowntree Theatre, York.

After the death of a much-loved husband, aYorkshire Dales group of Women’s Institute ordinary women decides to do an extraordinary thing. Led by Katie Melia’s Chris and Alexa Chaplin’s Annie, the friends vow to make an artistic nude calendar for a cancer charity, but discover that upturning preconceptions is a dangerous business, leading to emotional and personal ramifications that no-one could anticipate.

Yet their bold front brings each woman unexpectedly into flower in a tale that became a global phenomenon, spawning a million copycat calendars, Nigel Cole’s 2003 record-breaking film, Tim Firth’s stage play and Firth and Barlow’s musical (premiered  under the title The Girls at Leeds Grand Theatre in November 2015).

Matching Chris and Annie’s friendship, Katie and Alexa have been friends since 2010. “We met when appearing in York Light Opera Company’s Crazy For You,” says Katie.

“We last worked together in Disenchanted, doing it for the second time last October,” says Alexa. “That time it was for Steve Coates Music Productions, which was cast and directed by Katie. We both played the same parts that we did for Pick Me Up Theatre  [Katie’s Snow White and Alexa’s Cinderella] and got two of the original Princesses back, having first done it with Robert Readman in 2016. We’ve done such shows as Little Shop Of Horrors and Oliver!, and Calendar Girls must be about our seventh show together.”

Calendar Girls The Musical director Kathryn Addison

It turns out that Katie and Alexa are no strangers to a state of deshabille on stage. “We did Gypsy with Robert for Pick Me Up as two of the three strippers,” recalls Katie. “Neither of us had very much on in that one.”

Alexa was “very keen” to do Calendar Girls. Katie was “umming and  ahhing”. “But only because it’s my 40th birthday on the Sunday after the show finishes, but when I realised who was going to be doing it, I thought, ‘I can’t miss out as it’s an amazing show with amazing people in it, like Alexa’.”

Addison’s cast also will feature Katie’s husband, who has stepped in to replace Ryan Stocks in the role of Annie’s husband, John Clarke. “That’s brilliant because they’ve been friends for 16 years,” says Katie, whose husband in Calendar Girls, Rod, will be played by Jack Hooper.

“It does help in this show because they’re such long-standing friendships, and we have to build something authentic and believable,” says Alexa.

Analysing her character Chris, Katie says: “She’s the more happy-go-lucky and feisty of the two, and she’s definitely Annie’s right-hand woman, keeping her grounded. She’s there as her relief, her support, her friend, with everything that Annie’s going through with losing her husband.

Alexa Chaplin’s Annie, front, in the rehearsal room for Kathryn Addison’s production

“You also see the vulnerable side of Chris through the struggles of her son, where she wants him to be everything she isn’t, but feels she is losing control of him because he’s being led astray by this rebellious girl when he’s on the path to be head boy.”

Assessing Annie’s character, Alexa says: “It’s a really emotional role. This is the most real character I’ve ever played and the most touching, and that’s quite a responsibility, but it’s also a fantastic stage role and I’ve been really enjoying the acting challenge of Annie being more of an introvert than Katie’s Chris, where she responds to Chris’s energy and humour. They’re quite a counterpart to each other, and above all Annie has to carry the show’s emotional load.”

Alexa lost a close friend to cancer. “But even without that, I’m moved sentimentally and empathetically by the music, so I find it very moving, because the script and lyrics are so well written,” she says.

“In the face of something tragic, you do still have to go to the supermarket and cook meals. It’s brilliantly observed [by Tim Firth] with ordinary life motoring on, amid the tragedy, with all the undercutting of emotion with wry quips being so Yorkshire.”

Katie adds: “John will make a quip at the most emotional moment, which is so relatable because that’s how we react to loss or pre-emptive loss.”

York Musical Theatre Company’s cast for Calendar Girls The Musical. Peter Melia will be replacing Ryan Stocks in the role of John Clarke

At the epicentre of Calendar Girls is the photo-shoot for the nude calendar. “I had a wobble a few weeks ago because of the reality of what’s required. You agree to do the show, knowing you will have to strip, then rehearsing in a dressing gown, but you’re aware there’ll be no clothing beneath that dressing gown when you get on stage!

“You also know that Chris is the one who champions doing the calendar and she’s the one who won’t be protected by props. I’ll just have some strategically placed ‘bunting’. I have to walk to the front of the stage, which I’d forgotten , so when it was all laid out to me, I thought, ‘I can’t do this’.  At which point [husband] Peter said, ‘you signed up for it, it’s too late to back out now’!

“The thing is, the audience will not be judging on body type. It’s all about female empowerment.”

Alexa’s Annie will be “comfortably hidden behind watering cans and pot plants”. “Working together, it’s about thinking about sight lines and making everyone feel comfortable with the props and the solidarity of all doing it together: that teamwork and moral support,” she says.

York Musical Theatre Company’s line-up of Women’s Institute members for the Calendar Girls calendar

Katie adds: “We’ll be responsible for each other’s props for the photo shoot, so we’ve run the scene many times, thinking about ‘bigger buns’ or whatever. It’s not salacious or about ‘being sexy’. It’s about real women getting their kit off for a good cause – and we’ll have safety in numbers, where you can cover your ‘major modesty’!”

“And thankfully, unlike the original Calendar Girls, we will not be in the papers,” notes Alexa.

Addison’s directorial style will see Calendar Girls being ‘stripped back’ too, like a Yorkshire dry stone wall. “”It feels even more real because there’ll be no ‘jazz hands’,” says Katie.

York Musical Theatre Company in Calendar Girls The Musical, Joseph Rowntree Theatre, York, Wednesday to Saturday, 7.30pm plus 2.30pm Saturday matinee. Box office: 01904 501935 or josephrowntreetheatre.co.uk.

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North Yorkshire WIs to support Calendar Girls The Musical at Grand Opera House

The Calendar Girls The Musical cast, appearing at the Grand Opera House, York, from next Tuesday to Saturday. Picture: Jack Merriman

LOOK out for York and North Yorkshire East Women’s Institute Federation members at February 6 to 10’s performances of Calendar Girls The Musical at the Grand Opera House, York.

Celebrating the storyline of a cancer charity fund-raising group of ordinary women from a small Yorkshire Women’s Institute, they will have leaflets and information on hand in the public areas of the Cumberland Street theatre, giving audience members the chance to ask about the groups. 

Janice Whiteford, WI advisor for the North Yorkshire East Federation, says: “I think it’s marvellous that we’re able to highlight all the groups available in the area during the week at the Grand Opera House. There are lots of WI groups in the York and North Yorkshire East areas and we’d love to chat about the fun we have and encourage new people to join.”

Inspired by the true North Yorkshire story of the Calendar Girls at Rylstone Women’s Institute, who raised £5 million (and counting) for blood cancer research, the musical features songs by Take That’s Gary Barlow and a reimagined book by playwright Tim Firth.

What happens? Following the death to leukaemia of a much-loved husband, a group of ordinary women in a small Yorkshire Women’s Institute are prompted to do an extraordinary thing, whereupon they set about creating a nude calendar to raise money for charity.

However, upturning preconceptions is a dangerous business and none of the women are prepared for the emotional and personal ramifications they will face as the fabulous and funny calendar brings each woman unexpectedly into flower.

Who’s in the cast? Find out below. Picture: Jack Merriman

Calendar Girls The Musical brings together a touring cast of music, stage and television stars. Baring all in 2024 are Laurie Brett (EastEnders) as Annie; Liz Carney (The Full Monty, The Mousetrap) as Marie; Helen Pearson (Hollyoaks) as Celia; Samantha Seager (Coronation Street) as Chris; Maureen Nolan (The Nolans, Blood Brothers) as Ruth; Lyn Paul (The New Seekers, Blood Brothers) as Jessie and Honeysuckle Weeks (Foyle’s War) as Cora. 

They are joined by Colin R Campbell as John, Andrew Tuton as Rod, alongside Jayne Ashley, Lucas August and Victoria Hay in the ensemble.

The tour is supporting Blood Cancer UK, the charity dedicated to funding research into all blood cancers, including leukaemia, lymphoma and myeloma, as well as offering information and support to blood cancer patients.

Every performance continues to add to the millions already raised for Blood Cancer UK and prove that there is no such thing as an ordinary woman. During next week’s run, collections will take place at the Grand Opera House to increase awareness and raise additional funds.

Calendar Girls The Musical, Grand Opera House, York, February 6 to 10, 7.30pm nightly plus 2.30pm Wednesday, Thursday and Saturday matinees. Box office: atgtickets.com/york.

Calendar Girls: the (front and) back story

THE real-life Calendar Girls launched a global phenomenon: a million copycat calendars, a record-breaking film, a stage play and Gary Barlow and Tim Firth’s musical, premiered at Leeds Grand Theatre in November-December 2015 under the original title of The Girls. The show coined the term “craughing”: the act of crying and laughing at the same time.

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REVIEW: York Stage in Calendar Girls, The Musical, Grand Opera House, York ****

Rosy Rowley’s Cora, centre, preparing to face her camera moment with Jo Theaker’s Annie and Julieann Smith’s Chris in York Stage’s Calendar Girls The Musical. All picture: Charlie Kirkpatrick

Calendar Girls, The Musical, York Stage, Grand Opera House, York, until Saturday. Performances: 7.30pm, tonight to Thursday and Saturday; 4pm and 8pm, Friday; 2.30pm, Saturday. Box office: 0844 871 7615 or atgtickets.com/York

HAVE you been struggling to buy sunflowers in York since Friday?

The reason is simple: these sunworshippers have taken up residence at the Grand Opera House, spreading all over a teenage party dress and a gloriously OTT sofa in director-producer Nik Briggs’ scenic and costume design too.

Even in the dark of the orchestra pit, a sunflower can be spotted radiating nocturnal sunshine from musical director Jessica Douglas’s stand.

Touching moment: Jo Theaker’s Annie and Mick Liversidge’s John with their sunflower seeds

Calendar Girls The Musical began life as The Girls when premiered by sons of the Wirral Gary Barlow and Tim Firth at Leeds Grand Theatre in December 2015. Now the Yorkshire sunflower power has been restored for the York premiere by Briggs’s company.

If you missed the Leeds debut, jump at the chance to remedy that error! If you loved the film or the stage play, Barlow and Firth’s musical is even better, the format suiting what is already an opera-scaled human drama of ordinary women at the centre of an extraordinary story.

What’s more, as Briggs says: “Having Yorkshire actors playing these roles in a theatre in York creates a real gravitas to the story. It could work anywhere, but it’s just a bit more special done here as it’s a proper Yorkshire tale.”

You surely know that story, the tragicomic one where gentle gent, National Park wall builder and sunflower grower John Clarke (Mick Liversidge) – spoiler alert – dies from leukaemia .

Julieann Smith’s Chris singing Sunflower in Calendar Girls The Musical

Whereupon his wife, Annie (Jo Theaker), teams up with Knapely Women’s Institute rebel Chris (Julieann Smith) to defy the new but old-school WI chair Marie (Maggie Smales) by posing with fellow members for a fund-raising nude calendar in John’s memory – and in his spirit of being inventive and not following the well-beaten track.

Firth and Barlow open with two big hitters, firstly the scene-setting ensemble anthem Yorkshire, then the character-establishing introduction to The Girls, the diverse members of the WI, in Mrs Conventional.

So, we meet not only Theaker’s grieving but resilient Annie and Smith’s agitated/aggrieved Celia, but also Rosy Rowley’s Cora, the vicar’s no-nonsense daughter; Tracey Rea’s reupholstered, flashy Celia, the former airhostess; Sandy Nicholson’s perma-knitting Jessie, the wise-owl ex-teacher, and Juliet Waters’ reserved dark horse Ruth.

One of the joys of ballad-king Barlow and witty-worded lyricist Firth’s musical structure is how every one of the Girls has a knock-out, character-revealing, storytelling solo number, each drawing cheers and bursts of clapping, especially Rowley’s rousing, big-band blast of Who Wants A Silent Night?, Smith’s assertive Flowers, Rea’s exuberantly humorous So I’ve Had A Little Work Done and Waters’ vodka-guzzling My Russian Friend And I.

Uplifting: Tracey Rea’s Celia revels in So I’ve Had A Little Work Done

Theaker, so consistently excellent in York Stage lead roles, plucks the heartstrings in the stand-out ballad Scarborough and later hits the emotional heights again in Kilimanjaro. Her chemistry with Liversidge is utterly lovely, touching too, making Clarkey’s loss all the harder to take. Likewise, Theaker and the feisty Smith capture the strains and stresses of friendship under the utmost duress.

Calendar Girls is not just about the Girls, but the men too, from Chris’s level-headed husband Rod (Andy Stone) to humorous cameos for the ever-reliable Craig Kirby (Denis) and Graham Smith (Colin), and Finn East’s how-about-we-do-it-this-way photographer, Lawrence, sensitively venturing into new territory as much as his subjects.  

Not only does Firth’s script strike the right balance of northern humour, pathos, sadness and bloody-minded defiance, but also he places the stripping-off photoshoot as the climax (mirroring The Full Monty) and brings three teenage children to the fore, both as outlets for awkward, growing-pains humour and to expose their parents in a different light.

Danny Western is lovably cheeky as deluded, cocky workshy Tommo; Izzie Norwood affirms why Mountview Academy of Theatre awaits her in September with an assured, eye-catching York Stage debut as Jenny, the WI chair’s daughter, expelled from her posh school, with her wild, rebellious outsider streak still untamed.

Izzie Norwood’s Jenny leads Sam Roberts’s Danny astray

No wonder Sam Roberts’s clean-cut, gilded path to being head boy takes a wayward turn as too-cool-for-school Jenny initiates his discovery of alcohol. Roberts’s understated performance contrasts joyfully with Western’s ebullience as the young lads eggs each other on.

Briggs’s lucid, fast-moving direction places equal stress on the potency of the dialogue and the emotional heft of the songs, while his stage design combines dry-stone walls and Dales greenery with open-plan interiors for WI meetings, homes and the hospital, thereby evoking the vast expanse of Yorkshire yet suited to intimate conversation too.

Jessica Douglas’s keyboard-led musical forces do Barlow’s compositions proud, with Robert Fisher’s guitar, Georgia Johnson’s double bass, Graeme Osborn’s trumpet and Anna Marshall’s trombone all given room to flourish.

A quick mention for Louie Theaker, who stepped in for the temporarily indisposed Danny Western for Friday’s first performance, rehearsing his part from 5pm to 6pm as he called on his experience of learning TV script re-writes pronto for his regular role as Jake in CBBC’s children’s drama series James Johnson.

Audiences have not been as big as expected, but what folly it would be to miss York Stage in sunflower full bloom in a Yorkshire story of tears and cheers, grief and loss, spirit and renewal, humour and humanity, ace songs and cracking performances.

Sunflower show: The finale to York Stage’s Calendar Girls The Musical
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York Stage bring out the buns for city premiere of Calendar Girls The Musical

“We’re going to need considerably bigger buns”: York Stage’s promotional picture for Bun

THE true story of the Calendar Girls from Rylstone Women’s Institute has transferred from print to stage to screen.

Best of all is its latest conversion to a musical by composer Gary Barlow and writer and lyricist Tim Firth, two sons of a Wirral village who met as teenagers before Take That and Neville’s Island respectively shaped their career paths.

Premiered at Leeds Grand Theatre in December 2015 under the title of The Girls, the show returns to Yorkshire from tomorrow (22/4/2022) for its York premiere, now restored to the Calendar Girls moniker that leaves no room for confusion.

Calendar Girls: The Musical will be staged by York Stage under the direction of company founder, producer and artistic director Nik Briggs. “I don’t honestly remember when we applied, but it must be over a year we’ve had the performing rights, I think,” he says. 

Jo Theaker and Mick Liversidge in rehearsal for York Stage’s Calendar Girls The Musical. Picture: Charlie Kirkpatrick

“It’s a very popular show, so companies across the country have been scheduling productions. It’s such a beautiful story that’s based on real life, so it’s a joy to explore and work on.”

That story, should you have been hiding behind sunflowers all these years, revolves around the death of a much-loved husband prompting members of a Yorkshire dales village Women’s Institute “to do things a little differently”, stripping off decoratively for their annual fundraising calendar, blissfully unaware their daring behaviour would trigger such an impact locally, nationally, even internationally.

“The story of the ‘Calendar Girls’ has always inspired me,” says Nik. “Being the only boy on my mum’s side of the family, I’ve grown up surrounded by strong women and have always enjoyed being in the rehearsal room with actresses, creating work that celebrates them and puts their stories front centre.”  

For Calendar Girls, he is doing so with a cast fronted by Jo Theaker (as Annie); Julieann Smith (Chris); Rosy Rowley (Cora); Tracey Rea (Celia), Sandy Nicholson (Jessie) and Juliet Waters (Ruth), alongside Mick Liversidge (John) and Andy Stone (Rod).

Here come the Girls: York Stage’s ‘Calendar Girls’ pose for a snap in the rehearsal room as Rosy Rowley points the phone camera. Picture: Charlie Kirkpatrick

Nik did not make it to the Leeds Grand premiere. “I actually missed it in Leeds and the West End, so I’ve not seen it before,” he says. “I was especially gutted to miss it as the original cast included York Stage’s very own Josh Benson, but work and travel commitments just kept getting in the way when it was on! That’s the one bad thing about working in theatre; you miss a lot of shows!”

Nevertheless, Nik’s York Stage work since 2014 has given York debuts to West End and Broadway hits aplenty, and he is delighted to be adding Calendar Girls to that list. “Gary Barlow and Tim Firth have created a stunning score,” he says.

“It’s filled with pop ballads as you’d expect, but they’ve also created rousing Yorkshire anthems and jazzy big band show pieces too. Their ability to tell a story through song is really beautiful. They keep things simple and allow the emotion and acting to speak volumes.

“They’ve made a show with storytelling at its heart: there’s no big choreography or special effects, just an extraordinary story about a group of ordinary women that goes from heart-warming to heart-wrenching in an instant.”

“Having Yorkshire actors playing these roles in a theatre in York creates a real gravitas to the story,” says York Stage producer and director Nik Briggs

Calendar Girls wholly suits the musical format, Nik asserts. “It’s famously said, in musical theatre, ‘when it’s not enough to say it, you sing it’! The loss of a loved one creates some of the biggest emotions in a person, so it’s an ideal story to tell through the medium of musical theatre.

“The story is timeless too. Loss, grief and what huge life experiences like that can do to a person never changes, so audiences of all generations can relate to it.”

Nik, who is joined in the production team by musical director Jessica Douglas, has designed the set too. “It’s really evocative of Yorkshire and allows the production to move quickly and with pace, as intended,” he says.

The obligatory sunflowers will be omnipresent, but does Nik like this over-the-top flower? “I do. Who can say they don’t smile when they see one?! There must be close to 500 in this production, so it’s a good job I like them,” he says.

“The colour scheme of the marketing and the sunflowers connection to the story unintentionally now also evokes strong emotions, with the awful conflict we’re seeing in Ukraine, as the colours and flower are both national symbols of the country.”

Sandy Nicholson, left, Tracey Rea and Jo Theaker rehearsing Calendar Girls The Musical. Picture: Charlie Kirkpatrick

Staging a Yorkshire story on home soil definitely has an impact on its telling, posits Nik. “Having Yorkshire actors playing these roles in a theatre in York creates a real gravitas to the story. It could work anywhere, but it’s just a bit more special done here as it’s a proper Yorkshire tale,” he says. 

“As a native Geordie, who has now lived ‘down south’ here in Yorkshire for nearly half of my life, I still find myself blown away by the beauty of the region. Whether I’m out in the Yorkshire countryside with the green hills and dry-stone walls, in the middle of a quaint village with babbling streams and chocolate-box houses, or in the beautiful towns and cities with their impressive, intricate architecture, I can’t help but be awestruck by the charm that surrounds me.”

Coming next for York Stage will be their York Theatre Royal debut in Little Shop Of Horrors from July 14 to 23, followed by Kinky Boots at the Grand Opera House from September 16 to 24.

“We’ll end the year with our annual youth show at the Joseph Rowntree Theatre,” says Nik. “This year it’ll be Bring It On by Lin Manuel Miranda, so that’ll be very popular with the teens who all love Encanto and Hamilton!”

York Stage in Calendar Girls: The Musical, Grand Opera House, York, April 22 to 30.  Box office: 0844 871 7615 or at atgtickets.com/York.

Copyright of The Press, York