Calendar Girls – Based on the Miramax Motion Picture by Juliette Towhidi and Tim Firth; Directed by Nancy E. Carroll; Scenic Design, Jenna McFarland Lord; Costume Design, Gail Astrid Buckley; Lighting Design, Karen Perlow; Sound Design, Dewey Dellay;Presented by Greater Boston Stage Company, 395 Main Street Stoneham, MA through May June 17
By Alicia Googins
The women of “Calendar Girls” show enormous courage under fire. Fire, that is, of the camera snapping shots of them in the buff for an annual calendar. Based on the true story of the English Ladies Club members who bared it all in the name of love and scientific research, the play follows six women as they wade into the unknown waters of artistic nudity. To be fair (a phrase used often by the most modest and endearing of the lot, Ruth (Sarah DeLima), the photos are tasteful, and the women insist on referring to their state of undress as “nude,” not naked. But there’s plenty of room for scandal nonetheless.
Annie (Maureen Brennan), Ruth, Celia (Mary Potts Dennis), Cora (Kerry A. Dowling), Chris (Karen MacDonald), and Jessie (Bobbie Steinbach) are in the late stages of their beauty, just “before they go to seed,” as Annie’s husband John Clark (Sean McGuirk), says. John is sick with leukemia, and the women are determined to raise money, by whatever means they can, for cancer research. When Chris comes up with the idea for a nude calendar, the “girls,” after the initial shock wears off, each come to terms with the scheme at their own pace, and for their own reasons. Hilarity ensues as one by one, they get on board with the idea and go through with it, surpassing everyone’s expectations of success.
One of the most satisfying elements of the play is that, like the flowers John loved so well, each of the women gets their moment in the sun over the course of the story, as posing for the calendar becomes an opportunity for them to struggle with, and face down, their respective demons. And if the motives of some are purer than others, there’s no love lost in the end.
The six main actresses are lovely, completely engaged and consistent in the portrayal of their respective characters. Cora sets the mood from the start with a solemn and beautiful rendition of “Jerusalem,” which gives way to a humorous scene of the ladies practicing an inventive version of tai chi. This juxtaposition of solemnity and humor is one of the salient characteristics of the play that keeps it grounded with enough pathos to keep the audience in thrall for the full run time of 2 hours 30 minutes.
Other highlights include a well-executed set of Yorkshire accents, thanks to dialect coach Christine Hamel, and a cast of supporting characters that offset the stars charmingly without outshining them. Nael Nacer nearly steals the show as Lawrence, the bumbling and mortified photographer, who rises to the occasion by staging demure tableaux for each month of the calendar.
When the tops finally come off, the audience can’t help but be uplifted by the gusto with which the ladies, from the trophy wife, Celia, to the spirited Jessie, go for broke, shielding their bosoms with an array of jam jars, freshly baked buns, balls of yarn, and, hilariously, a bag of golf clubs.
Cheryl McMahon and Kathy St. George shine as well, as Marie and Lady Cravenshire, the upright (if not uptight) heads of the Women’s Institute, whose shared passion for tea towels and modesty is the perfect foil for the calendar girls’ antics. Heartwarming and entertaining, the show is worth the trip to Stoneham. For tickets and info, please go to: www.greaterbostonstage.org
