Directors - Valarie Ball & Carmel Leather
Musical Director - Peter England
Production Manager & Designer - Aaron Cawley
Choreography - Jean Williams & Vicki Patheyjohns
Stage Manager - Andrew Murrell
Wardrobe - Margarette Navin
Lighting - Neil Burkitt
Make Up - Helen Owen
Rehearsal Pianist - Tom Beecroft
Chorus Master - Matt Quinn
Calamity Jane - Jennifer Ball
Wild Bill Hickock - Tim Jones
Lieut. Danny Gilmartin - Mike Howard
Katie Brown - Bredgeen Smyth
Henry Miller - Joe Youds
Susan - Vicky Jones
Francis Fryer - Aaron Cawley
Adelaide Adams - Andrea Jones
Rattlesnake - Roy Youds
Pete - Ted Owen
The Colonel Of Fort Scully - Frank Birkenhead
Joe (Barman) - Simon Lowe
Steve Barker, Chris Barker, Valentine Fitzgerald, David Crowther, Ron Murphy
Alison Ball, Jane Coulson, Sarah-Jane Hair, Cath Clarke, Jean Williams, Charlotte Murrell, Joan Pearsall, Sue Parker, Kate Murrell, Lindsay Berridge, Vicki Patheyjohns, Diane Sissons, Margaret Hodson, Wendy Murrell, Eve Leather, Mary Hyde, Yvonne Williams, Jacqui Jones
Performed at Frodsham Community Centre - Fluin Lane, Frodsham, Cheshire
on the 7th to 12th November 2005.
Music by Sammy Fain, Lyrics by Paul Francis Webster. A Musical Western adapted by Ronald Hanmer and Phil Park from the stage play by Charles K Freeman after The Warner Bros Film written by James O'Hanlon
Produced and Directed by Valarie Ball and Carmel Leather and Musical Direction by Peter England
Calamity Jane - NODA review
"I was surprised to learn that the Zodiacs had not previously performed Calamity in its 36 years history, an omission that was corrected in a magnificent manner with this production which was not without its problems for the first-time production team.
For the past few shows the society has recruited members of the orchestra from the Band of the Prince of Wales Division (Clive) but shortly before the production they became unavailable due to a military posting. So, at a late stage (if you will pardon the pun) Peter England came galloping up with his magnificent Manchester Musicals Group Orchestra providing excellent accompaniment to a sparkling show.
In the title role Jennifer Ball gave a superb performance as the gun-toting Calam, partnered ideally by Tim Jones as Wild Bill Hickock.
Fine all-round support came from Joe Youds as the perpetually harassed Henry Miller, Bredgeen Smyth as Katie Brown and Mike Howard as Lt Danny Gilmartin. Vicky Jones was a charming Susan partnering the song and dance man Francis Fryer - later to appear as song and dance girl Frances Fryer - admirably played by Aaron Cawley who in addition to performing on stage was the show's production manager and designer.
The part of Adelaide Adams was nicely portrayed by Andrea Jones and there was a scene-stealing performance of Rattlesnake by Roy Youds.
Homburgs' costumes, Prosceneium's scenery, Howorth-Wrightson's properties and lighting by VME all combined to set off a show that provided packed houses with a fine evening's entertainment. There was certainly no dead wood on this stage! Congratulations all round ."
Calamity Jane - Northwich Guardian Article
Zodiac Amateur Operatic Society: Calamity Jane
From the archive, first published Wednesday 16th Nov 2005.
"TAKE a popular musical and a note-perfect orchestra. Add superb choreography and first class direction and great entertainment is almost guaranteed.
The Wild West comedy Calamity Jane has wonderful tunes and a witty script and some eccentric characters.
This happy action-packed production hit the bullseye in terms of energy, exuberance and fun. The dance routines were inventive, dynamic and varied, from the high kicking showgirls to the rhythmic movement of arms, hands, legs and hips of the chorus, you felt that someone in charge knew a thing or two about dance routines. The chorus singing was another strong point in this uplifting production. Whether singing The Black Hills of Dakota or the rhythmic Windy City, the sound was rich and melodic.
Jennifer Ball as the tough-talking tomboy, Calamity Jane, had the task of making the famous Doris Day role her own. And she certainly did. This was a high-octane, personable, performance requiring multiple skills in dancing, singing and acting. It would be unfair to single out other performances because the show's success depended as much on the principal role as on the overall effect, which was joyful, energetic and eye-catching. Whatever the magic ingredient it's clear that producers Valerie Ball and Carmel Leather knew exactly what was wanted.
The show drove forward with momentum and the action and singing melded perfectly due to the expertise of choreographers Vicki Patheyjohns and Jean Williams. The show looked good in terms of properties, lighting and costumes. Particularly memorable was when the chorus entered from the back of the hall, bearing lanterns and singing one of the show's most lilting and tuneful melodies.
In summary, this was a show worth more than the sum of its parts. The importance of teamwork, total dedication, spot-on timing, nimble footwork, and a sense of joie de vivre was patently evident. Last but not least it would be unfair not to give credit to Peter England as conductor and to Matt Quinn, the chorus master, who ensured that the show sounded so good. Excellent. "