I have to admit, upon hearing the new musical based on the classic British comedy Calendar Girls was scored by Gary Barlow, I immediately wrote it off as musical theatre fluff, having long held the belief that Take That made music that only a mother could love. Mothers would indubitably love this wholesome musical romp replete with Gazza's trademark effervescent brit-pop stylings, but so would their daughters, sons and husbands. This daughter certainly enjoyed the evening’s light-hearted and often tear-jerking proceedings.

Released in 2003, the Calendar Girls film boasted a cast of the UK's acting royalty including Helen Mirren and Julie Walters. The story follows the trials and tribulations of a small Yorkshire town called Knapely - it's the kind of town where everyone is well acquainted with the minutiae of their neighbours business, skirts above the knee are frowned upon and inhabitants lives run like clockwork.

This pastoral sleepiness is shattered when local gardener John Clarke dies of leukemia and his wife Annie, played by genial two-time Olivier Award winner Joanna Riding, is left in Cancer's terrible wake. Normal life returns to its course for all save Annie and in a fit of outrageous inspiration, her headstrong best friend Chris, played with gusto by former Phantom actress Claire Moore, decides the best way to honour John's memory is raise money for the local hospital by putting together a Women's Institute calendar with a twist - a very nude twist! Together Annie and Chris band together a group of feisty older yet not over-the-hill women to pose in the buff, turning heads, causing a ruckus and above all proving that age should never define you.

The bonds of womanhood and friendship form the basis of this charming story, reflected in the incredibly capable ensemble on stage. Channeling enough gumption to light up the West End for a week, the fierce females embody their characters with humour, elegance and technically brilliant performances, hitting all the high notes in rousing festive number 'Who Wants A Silent Night' (led by the superb Claire Machin as Cora) and showstopper 'For One Night Only' which closes the show. Each of the women perform their own solo songs dotted throughout, revealing their innermost selves and breaking free from the weight of outward appearances and political correctness as they sign up to strip off for the calendar.

It's wonderful to see such a genuine production that lifts the spirits while having emotional depth. While it is certainly light and frothy fare, some scenes would have me giggling like a schoolgirl where others had me welling up. A touching and heartfelt message of female empowerment and two fingers up to ageism, The Girls is a delightful surprise, perfect for a girls' night out.

REVIEWED BY TEIA FREGONA

Tuesday 28 march 2017
Phoenix Theatre, London

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