Review: Calamity Jane - Waterford Musical Society

Society name: Waterford Musical Society

Show name: Calamity Jane

Adjudicator date of attendance: 02/05/2026

Over the last two seasons, I have seen well over a hundred productions on my travels and there are certain moments that never lose their appeal. One of those has always come during the overture to ‘Calamity Jane’. Every time I see the show, the same thing happens. As soon as ‘The Black Hills of Dakota’ begins, without fail, voices start joining in from around the auditorium. It says a great deal about the affection people have for this classic show and the assembled audience in the Theatre Royal for Waterford Musical Society’s production were right up there with the best of them as they sang through the overture with gusto, creating a wonderful sense of community. A professional touring production of the same show recently asked audiences not to sing along before the show began. Personally, I think that misses something important. Theatre is at its best when it brings people together and few shows do that as naturally as ‘Calamity Jane’.

My visit began with a most enjoyable front of house experience. The Theatre Royal is one of Ireland's most beautiful theatres, full of character and atmosphere and it is always a special place in which to see a show. From the moment I arrived, there was a genuine sense of welcome, thanks to a friendly and enthusiastic front of house team who clearly took great pride in what they were doing. The various displays were very effective. Hay bales and wanted posters featuring members of the cast were a lovely touch, adding to the fun before we took our seats. Combined with the warm welcome and the unique atmosphere of the venue, it created a very positive start to the night.

Ray Collins and Margaret Kavanagh worked very successfully together to bring this production to the stage. The result was an entertaining and well-paced show that benefited from their careful preparation. There was a good focus on storytelling throughout, with plenty of attention paid to smaller details, which helped to bring the production to life. Comedy was very well handled. The directors also paid close attention to what was happening beyond the principal action. The pace of the production was very good throughout thanks to good understanding of dialogue and good use of a set design that allowed for smooth changes. There were some nice directorial touches throughout. I loved the incorporation of the banjo player into ‘The Black Hills of Dakota’, which was a lovely touch. Overall, Mr. Collins and Ms. Kavanagh can be very pleased with what they achieved. They presented a show full of humour and personality, with strong pacing and thoughtful attention to detail throughout.

Dressed appropriately in his checked shirt, Wayne Brown entered into the spirit of the occasion and his enthusiasm was evident from the moment the overture began. The orchestra produced a lovely warm sound throughout. The overture was excellent, setting the tone for what was to follow. Mr. Brown’s conducting was very confident and assured throughout. Choral work was particularly strong. ‘Deadwood Stage’ had a wonderful ensemble sound. The gentlemen impressed in ‘Adelaide’, with a rich, well-balanced sound, while ‘Windy City’ was another musical highlight, full of energy and performed with excellent ensemble singing. ‘The Black Hills of Dakota’ was especially memorable. The banjo playing was outstanding and added greatly to the authenticity of the number and the choral work, particularly from the gentlemen, was beautiful. Overall, a very strong musical presentation and great work from Mr. Brown.

Ali Reville's choreography suited the show and the cast very well. Rather than trying to do too much, the routines focused on character and storytelling but still had plenty of energy and life. Choreography catered for a wide range of abilities, allowing cast to perform with confidence. The can-can was one of the choreographic highlights of the show. It was a lively, entertaining routine and the final splits from two of the dancers provided a memorable ending. ‘I Can Do Without You’ was great fun, with lovely interaction between Calamity and Bill. Similarly, there was a great sense of playfulness between Katie and Calamity in ‘A Woman's Touch’. ‘Windy City’ was another strong number. The decision to use different groups throughout this routine was a sensible one, particularly with so many in the ensemble. The ensemble movement during ‘The Black Hills of Dakota’ was simple but very effective. Another good example of choreography being used to enhance the storytelling.

Jennifer White was most engaging as Calamity Jane, with strong stage presence, excellent comic timing and very good understanding of her character's journey. She nailed Calamity’s rough-and-ready spirit but never lost sight of the vulnerability underneath the surface. Ms. White had great comic timing, without ever overplaying things. Her singing was another strength. ‘Windy City had wonderful energy and conviction. I did feel that she was too glamorously made up from the beginning, which reduced the contrast between the two versions of the character. Her performance was excellent but a rougher, less glamorous look early on would have been more believable. Her relationship with Bill was another highlight. The rapport between the two felt very natural and their unexpected romance unfolded nicely, making ‘Secret Love’, one of the standout moments of the evening. Overall, this was a Calamity that we could laugh with, sympathise with and ultimately root for; a very intelligent performance full of sincerity and heart.

Conor Lyons gave a very thoughtful performance as Wild Bill Hickok. What impressed me most was his ability to remain fully engaged, even when the focus was elsewhere. Wild Bill’s laid-back nature came across very naturally. Mr. Lyons carried himself with confidence and his excellent physicality gave him very strong stage presence throughout. His understanding of comedy was excellent, understated and subtle. There was also a real sincerity to his relationship with Calamity. The rapport between the two was beautifully played and we were totally invested in their story. ‘Higher Than a Hawk’ was performed with great honesty and warmth and his sincerity carried the song beautifully. I was surprised, however, that the melody wasn’t always secure. Greater accuracy would have helped the song to make an even stronger impact. Overall, this was a well-judged portrayal of Wild Bill. Mr. Lyons understood that less can often be more and his understated approach made him one of the production’s most memorable characters.

Killian Delahunty brought a laid-back quality to Danny Gilmartin. His relaxed approach suited some aspects of the character, particularly in the more romantic scenes, where he came across as genuine and earnest. ‘Love You Dearly’ was sung with warmth and sincerity and the blend with Katie was very pleasing. For me, the performance would have benefited from a greater sense of what Danny was thinking and feeling underneath the surface. Reactions don’t always need to be large or obvious but characters do need to be fully engaged in the action at all times. Mr. Delahunty’s accent also required some work. Greater consistency here would have helped strengthen his overall characterisation. That said, this was a solid portrayal overall, particularly in the more heartfelt moments.

Nicole O'Rourke gave a wonderful performance as Katie Brown. Her lovely singing voice and strong acting helped to create a character who was very engaging and believable. What impressed me most was her attention to detail as she always allowed us to see what her character was thinking. Ms. O’Rourke was constantly thinking and responding in the moment. Her musicality was very strong. The reprise of ‘Harry’ was beautifully sung, while ‘A Woman's Touch’, with Calamity, was another highlight. The contrast between Katie's uncertainty early in the story and her growing confidence later on was very well handled. She was wonderfully hesitant during ‘Keep It Under Your Hat’, capturing the character's nerves and uncertainty perfectly. By the time of the reprise, we saw a much more confident and believable Katie. A very well-observed performance from Ms. O'Rourke.

Adrian Dower was excellent as Henry Miller. Henry's nervous, highly strung nature came across very clearly but Mr. Dower avoided the temptation to overplay and, as a result, the comedy was natural and believable. His facial expressions were consistently very funny throughout. There was a lovely sense of tension running through his performance, with Henry appearing to be constantly on the verge of losing control. A very enjoyable comic performance overall, full of character throughout.

Mary Duggan made a wonderful impression as Susan Miller. Although it is not the biggest of roles, she made sure that every appearance counted, bringing great energy and commitment to every scene. Ms. Duggan found plenty of personality in her characterisation which was both amusing and entirely believable. She also had a natural sense of timing and listened and reacted well to those around her. Superb character work from a talented young actress with enormous potential for the future.

Timmy Moloney was excellent as Francis Fryer, giving one of the most entertaining performances of the evening. He brought a great sense of fun to his larger-than-life characterisation. His physicality and facial expressions were excellent. Musically, he impressed throughout. ‘Everyone Complains About the Weather’ was performed with confidence and style and ‘An Eye Full of Honey’ was a highlight of the evening. An excellent all round performance.

Anne Marie Collins was the personification of there being no such thing as a small role. Although Adelaide Adams appears only briefly, Ms. Collins made a wonderful impact. Drawing on her considerable experience, she created a memorable character in a very short space of time. Her stage presence was wonderful as she established Adelaide's glamour and theatricality without falling into the trap of overplaying. ‘It's Harry I'm Planning to Marry’ was a real highlight, delivered with style and confidence. An excellent contribution from a talented performer who made the most of every second she was on stage.

Kieran Walsh made the most of his appearance as Rattlesnake and left a very strong impression. He ensured that every moment counted. What stood out most was his stage presence. Even when he was not the centre of attention, he was fully engaged with the action. Rattlesnake may not have a great deal of stage time but this was a polished, memorable performance that showed how important the smaller roles can be in bringing a production to life.

Paul Corcoran was equally impressive as Doc Pierce, giving a performance full of character and authenticity. This was a clever and most believable performance from a very clever actor. How lucky WMS was to have someone of this calibre in a relatively minor role. An excellent piece of character acting from a performer who understood how to make an impact without needing to overstate what is on the page.

There was strong support too from Brian Flynn as Joe, Joe Shanahan as Hank, Kenneth Dixon as Pete and Ultan Hayden as Colonel.

There was good work throughout from the ensemble. Performance levels were generally strong and, for the most part, the cast worked hard to create a believable community on stage. Movement was well performed throughout and choral singing was of a very good standard. The gentlemen impressed in ‘Careless With the Truth’, singing with confidence and commitment. There was strong work too during ‘An Eye Full of Honey’, with the cast embracing the fun of the number and helping to make it one of the highlights of the evening. ‘The Black Hills of Dakota’ was another standout moment. The sound was excellent but what impressed most was that the cast never forgot they were performing a story rather than just singing a song.

Jean Upton and her stage crew did a very good job throughout. Scene changes were handled smoothly, helping to keep the show moving at a good pace from start to finish. Crew benefited greatly from a very clever and practical set design, which allowed many of the changes to happen quickly and efficiently. Cast and crew worked well together to ensure transitions were completed seamlessly and, as a result, the story flowed very naturally. The only noticeable issue came at the end of Act One, when there appeared to be a delay before the curtain came in. Aside from that, however, everything ran very smoothly, with slick transitions and a strong sense of organisation throughout.

The set design was one of the production's greatest strengths. The design was authentic, attractive and, most importantly, highly practical. Every element appeared to have been carefully considered, allowing the story to move smoothly from location to location without the need for lengthy scene changes. The timber-fronted buildings, saloon frontage and various pieces of scenic dressing created a believable frontier town. The design made excellent use of the limited space. One of the most impressive features was the upstage performance area, which was beautifully realised. Complete with traditional footlights, it evoked the atmosphere of a travelling theatre perfectly. What impressed me most was the flexibility of the design. The same basic structure gave us many different settings and contributed greatly to the excellent pace of the show.

The lighting design helped create some lovely stage pictures throughout the show and played an important part in establishing the different moods and locations required. The soft-edged follow spot was used very effectively throughout. The star cloth was very effective during ‘The Black Hills of Dakota’. I wasn't entirely sure it would suit the number but it did create a lovely atmosphere and worked very well. One thing I did notice was that many of the solos and duets were lit in a similar way, with a coloured wash across the stage and principals picked out in follow spot. There is nothing wrong with this approach, and it worked well, but a little more variety might have helped some of those songs feel more visually distinct. Overall, however, this was a strong lighting design that supported the storytelling well.

The sound design was generally of a very high standard. One of the things that stood out most was the quality of the band sound. The orchestra produced a lovely warm tone throughout, and there was an excellent balance between the musicians and performers on stage. Cueing was excellent from start to finish. Dialogue levels were also very well judged. There was a slight issue at the top of the show, during ‘The Deadwood Stage’, where Calamity's vocals were difficult to hear. Fortunately, this settled, and balance was much improved as the show progressed. There were relatively few sound effects required and for the most part they worked well. Overall, this was a strong sound design, with excellent cueing and a beautifully balanced orchestra.

Costumes were excellent overall and helped create a convincing picture of life in the American West. There was a good variety of looks on stage, from the practical daywear worn by the townsfolk to the more theatrical costumes associated with the Golden Garter and Adelaide Adams. Hats, waistcoats, boots and long skirts all contributed to the frontier atmosphere, with enough variation to avoid everyone looking the same. The can-can costumes were excellent and suited the style of the number perfectly. I did feel that Calamity’s tight leggings worn in the earlier part of the show gave a more feminine appearance than one would expect for that stage of Calamity's journey. In contrast, her wedding dress was stunning and perfectly appropriate for the end of her journey.

The props team did exceptional work throughout, with a huge amount of thought and care that really added to the atmosphere of the show. The saloon scenes were very well detailed, with whiskey shots, playing cards, trays and plenty of other small touches helping to bring things to life. Francis Fryer's suitcase was another standout piece, with excellent branding that showed the care that had gone into the prop department's work. There was similar attention to detail in Adelaide's dressing room, with flowers, hand mirror and hat boxes helping to create a believable backstage setting. Calamity's cabin was equally impressive, with baskets of logs, lanterns, brooms and flowers all helping to make the space feel very authentic.

Hair and makeup were generally of a good standard. The ladies’ hairstyles were particularly good, with ribbons, ringlets and bangs helping to create a convincing period feel. Danny's arm injury was also very well realised and looked suitably authentic, showing good attention to detail. Frances Fryer’s blonde wig was suitably ridiculous and added to the comedy. I felt that more attention to detail was needed for Calamity in the early part of the show. She appeared quite polished from the beginning, with eye makeup and an overall look that felt more glamorous than would normally be appropriate at that stage of the story. The performance itself was never in question but a rougher, less glamorous approach initially would have strengthened the storytelling, in my opinion.

One of the things I will take away from this production is the sense of community that surrounded it. From the audience joining in with familiar melodies before the show had even begun, to the cast working together on stage to bring Deadwood to life, there was a real feeling of people coming together to share something they loved. Waterford Musical Society should be very proud of what they achieved. It was an entertaining production of a much-loved classic; a show that sent its audience home smiling and that is one of the greatest compliments that can be paid to any production.

Pat McElwain

Sullivan Adjudicator 2025/2026