Calamity Jane - UK Tour - Review

★★★☆☆

Let’s get one thing straight from the get-go: I was here for Carrie Hope Fletcher. The moment I heard she was back in the saddle, leading the UK revival of Calamity Jane, I dusted off my cowboy hat, grabbed a ticket, and galloped off to the theatre faster than you can say “Deadwood Stage.” Did she deliver? Absolutely. Did the show? Well… let’s unpack that.

Carrie Hope Fletcher (Calamity Jane) lay on the piano with actors playing instruments around her.

Based on the 1953 Doris Day film, Calamity Jane tells the story of a brash, unconventional frontierswoman navigating mistaken identities, unrequited love, and the dubious gender politics of the Wild West. It’s a musical wrapped in heart, cheerful tunes, and sepia-toned nostalgia. Nikolai Foster’s production leans heavily into this charm, with Matthew Wright’s clever set design conjuring a dusty, storybook version of Deadwood, complete with a piano that doubles as a stagecoach — which was a lot of fun.

But here’s the thing: Calamity Jane has always been more fluff than substance. The plot is paper-thin, and while the musical numbers are catchy, they’re also repetitive, with reprises aplenty. The melodies themselves feel over-simplistic, meaning the cast—particularly someone with Fletcher’s vocal prowess—is left underutilised. Fletcher’s Calamity is all elbows, swagger, and self-deprecating charm, but her rendition of Secret Love is a tender, soaring highlight. But beyond this, the material doesn’t give her—or the rest of the talented cast—much to sink their teeth into.

Vinny Coyle as Wild Bill Hickock

That’s not to say the production is without its moments. The hoedown choreography is lively and infectious, and the duet I Can Do Without You between Fletcher’s Calamity and Vinny Coyle’s Wild Bill Hickok is brimming with chemistry. Molly-Grace Cutler shines as Adelaide Adams, though she’s woefully underused, and Seren Sandham-Davies brings a warm, grounded performance as Katie Brown.

It’s clear the production has its target audiences: fans of the original film, seasoned theatre-goers, and amateur operatic society members who’ve performed Calamity Jane before. The production knowingly leans into these roots, with over-the-top caricatures (like you would see in Am-Dram) and actors encouraging sing-a-long moments. These sing-a-long’s aimed to engross the audience but actually it alienated newcomers (like me) who didn’t know the songs. While this may have been nostalgic fun for some, this choices pulled me right out of the immersion, and I was never able to reconnect.

The actor-musician ensemble is undeniably skilled, seamlessly flipping between characters and instruments, though at times it felt like more of a novelty than a necessity. Still, the sense of ensemble work is unmistakable, with every transition, dance break, and comedic beat feeling evenly shared among the cast.

Where the show falters most, however, is its insistence on sticking so faithfully to the original script. In an era when revivals often adapt to resonate with modern audiences, this Calamity Jane stays firmly stuck in 1953. Songs like A Woman’s Touch lean into outdated ideals of domestic ‘female roles’, and the Wild West’s overtly male-centric worldview just feels chauvinistic, without a narrative reason. Just a stage full of men groping and getting randy for any half-decent looking woman. It’s fun if you’re here for a stroll down memory lane, but it’s not exactly breaking any new ground — so why bother reviving it? 

So, would I recommend it? If you’re a die-hard Carrie Hope Fletcher fan or have fond memories of the film or an Am-Dram production, this show is a charming rendition that will keep you entertained. But if you’re looking for a revival with fresh perspective or emotional depth, this may not be the Wild West adventure you’re hoping for. Not a total calamity, but not exactly the Wild West adventure I was hoping for either.