Ringwood Musical and Dramatic Society 
The Barn, Ringwood School
Susanna Greenwood 
08 April 2026
Calendar Girls The Musical follows the story of a group of women from a small Yorkshire Women’s Institute. We are invited into the lives of this seemingly ordinary group as they navigate everyday challenges, managing relationships, errant children, golf club etiquette, and the gentle monotony of WI slide shows. Interwoven with these moments is the deeply personal story of Annie and her husband John. As John undergoes treatment for cancer, we witness Annie’s quiet endurance, her internal questioning and the looming uncertainty of life without him. Seeking comfort in the camaraderie of her WI circle and especially in her enduring friendship with the irrepressible Chris, Annie finds strength in community. What begins with an uncomfortable sofa in a hospital waiting room ultimately transforms into the best seat in the house, as the women confront their own vulnerabilities to create a nude calendar in John’s memory.
With music and lyrics by Gary Barlow and based on the play by Tim Firth, this poignant and uplifting true story has been brought to life with a score that underpins the emotional heartbeat of the piece. In this production, the band, led by Musical Director Matt Timmins, played beautifully throughout, providing sensitive and supportive accompaniment. Seated near the front of the auditorium, there were moments where the band slightly overpowered the singers and some balance adjustments, particularly in the larger ensemble numbers, might have allowed the vocals to shine more clearly.
At the centre of the production was the deeply authentic friendship between Chris and Annie, played superbly by Lucie Evans and Suzy Collins. Their relationship felt entirely believable, capturing both the humour and honesty of a lifelong bond. It served as a powerful representation of female friendship, its resilience, its necessity, and its ability to sustain us through life’s most difficult moments.
Lucie Evans delivered a standout performance as Chris, the driving force behind the calendar and the first to bravely step beyond WI convention and out of the bra! She captured the character’s playful rebelliousness with ease, balancing humour with moments of genuine tenderness and vulnerability. Her performance was layered and charismatic and her strong vocals only added to what was a truly commanding presence on stage, a real tour de force.
Suzy Collins’ Annie provided a warm and grounding contrast to Chris’s more chaotic energy. Her performance was thoughtful and emotionally engaging, bringing sincerity to Annie’s journey and allowing some of the production’s most moving moments to land with real impact. While vocally this was not the strongest performance on stage given the demands of the role, the emotional intensity she brought ensured her portrayal remained compelling.
David Kehoe gave a convincing and sensitive portrayal of John, capturing both his warmth and the gradual decline of his health. There were some touching exchanges between Annie and John, although their chemistry did not feel quite as natural or effortless as that shared between the two central female characters.
The wider WI ensemble was made up of a varied collection of personalities, each bringing their own quirks and hidden depths. Danielle Morris shone as Cora, the WI pianist and vicar’s daughter, a former ‘rock chick’, and delivered one of the strongest vocal performances of the evening. Her energetic and committed rendition of “Who Wants a Silent Night?” was a particular highlight, earning a warm response from the audience. Danielle also handled an unscripted wardrobe malfunction with professionalism and confidence.
Rachel Stebbings as the glamorous Celia and Sally Ager as the quietly efficient Ruth both offered well observed characterisations, with standout solo moments. Ruth’s “My Russian Friend and I” was especially memorable and performed with excellent comic timing.
The staging of the calendar scenes is well choreographed, handled with care and sensitivity, ensuring the cast feel supported while maintaining the boldness and bravery required. These moments strike the perfect balance between humour and respect, never tipping into discomfort.
A delightfully cheeky moment of upstaging from Miss Wilson (Coffee) and Miss Wilson (Tea), played by Hazel Burgess and Dawn Symonds, drew a particularly lively audience reaction, by which point the crowd was fully invested in the unfolding spectacle. Among the younger cast, Eleanor Cheetham stood out as Jenny, the rebellious daughter of Anna Wallis’ chairperson Marie, delivering both attitude and vocal strength.
The set has been thoughtfully designed and crafted, with Annie and John’s garden fixed stage right and Chris and Rod’s flower shop stage left, creating a strong visual anchor throughout. Movable flats effectively established the WI hall, and the stage team, led by Stage Manager Rachel Bodger, executed scene changes with impressive efficiency. Credit is also due to the cast for maintaining pace and energy throughout these transitions.
RMDS and this talented ensemble should be immensely proud of this production. It is a high-quality offering, full of energy, sincerity, and conviction. Balancing humour with heartbreak, it delivers a genuine emotional journey, one that proves as uplifting as it is moving.
