Calendar Girls

I returned to Parish Players for their Spring 2026 production of Calendar Girls. Based on the motion picture by Tim Firth and Juliette Towhidi, this play mixes humour with more reflective moments and depends heavily on the cast, predominantly the key WI ladies, if it is to be successful. The story begins within the everyday routines of the WI, where the central characters and their relationships are first established.

Based on the real-life story of the Rylstone and District WI, Calendar Girls follows a group of women who decide to produce an alternative charity calendar after one of their husbands became ill and eventually died of cancer. The narrative moves between humour, personal challenges and the shifting dynamics within the WI as the idea gathers momentum. The narrative allows each of the main WI women to take on a distinct part in the progression of the story, creating a heart‑warming account of friendship and community spirit.

As Director, Perri Kennedy led the production with clear, confident direction and a strong cast to support her vision. There were some well‑judged touches throughout, reflecting the amount of work that had clearly gone into shaping the show, and the result was a performance that moved smoothly and flowed naturally from scene to scene. The audience was engaged and enthusiastic throughout, responding warmly to the pacing, the humour and the overall delivery.

The six leading WI ladies drove the heart of the production, each bringing a distinct personality and energy that kept the story moving with real purpose. Their commitment to the calendar scenes was especially striking, earning huge applause as each stepped forward for her individual photograph — moments that combined bravery, humour and genuine warmth. Together, they formed a cohesive and engaging core that anchored the entire show.

Caroline Chick brought a great mix of dry humour and warmth to Cora, the deadpan joker with a rebellious past. She anchored the WI scenes with her piano playing and led the group’s singing with an effortless, slightly sardonic edge. Her one‑liners landed well, and the hints of her wilder younger days gave the character real texture. Caroline added a spark to every scene she was in and her calendar moment at the piano was a crowd pleaser, capturing exactly why Cora was so much fun to watch.

Susanna Stratton delivered a lively and engaging performance as Chris, bringing an easy confidence and a clear sense of someone who naturally takes the lead. She kept the pace moving with her quick humour and no‑nonsense energy, especially in the early WI scenes where she’s the first to push the group out of their comfort zone. Her exchanges with Marie had a nicely pointed edge without ever feeling heavy, and she handled the shift in tone later on with a light, believable touch. It was a performance that felt instinctive and grounded, making Chris’s influence on the group convincing.

Toni Conyers gave a gentle, heartfelt performance as Annie, Chris’s best friend and the more grounded, conformist presence within the group. She conveyed Annie’s kindness with real sincerity, shaping a character whose motivations are rooted in her husband John’s illness and the quiet resilience that followed his death. There was a real honesty in the way she handled Annie’s more reflective moments, and her calm, steady approach provided an effective contrast to Chris’s boldness, giving their friendship real depth on stage.

Maggi Chick gave a standout performance as Jessie, the retired teacher whose sharp tongue, fearlessness and eccentric streak make her unapologetically herself. She delivered Jessie’s dry observations with perfect timing, bringing a mischievous edge to the role while never losing the character’s underlying warmth. Her delivery of Jessie’s more pointed remarks, especially those matter‑of‑fact truths, landed beautifully, and her confidence added real colour to the group dynamic.

Caryl Court gave a confident and stylish performance as Celia, the glamorous and bold outsider who always seems slightly out of place in the WI. She carried the role with ease, blending poise, humour and a touch of self‑assurance that made Celia immediately stand out. Her presence added a bright, modern contrast within the group, and she delivered the character’s confidence with a polished, assured touch.

Amanda Roberts gave a touching and well‑shaped performance as Ruth, the anxious and eager‑to‑please member of the group whose emotional vulnerability sat close to the surface. She captured Ruth’s uncertainty with real sensitivity, from the unexpected moment she turns up to the photoshoot with a bottle of vodka to help everyone relax, to the far more serious point where she finally stood up to her husband’s infidelity.

Anne Carroll captured Marie’s strict, traditional WI sensibilities with real clarity, making her disapproval of the calendar idea both believable and very funny. She played Marie’s insistence on proper procedure with a wonderfully straight face, which only heightened the humour of her reactions as the group drifted further from WI respectability. Her slightly frosty presence, set against everyone else’s growing boldness, created a contrast that gave her reactions a lovely, understated humour.

David Brown gave a touching and quietly powerful performance as John, Annie’s husband, whose illness becomes the catalyst for the calendar. He brought a gentle warmth and dignity to the role, making his scenes resonate without ever overstating them. His death was particularly striking. The simple act of rising from his wheelchair and walking offstage as Time to Say Goodbye played was a deeply moving moment for the audience.

Paul Mannix brought an easy, understated charm to Rod, Chris’s supportive husband whose dry humour added a nice lift to his scenes. It’s a smaller role, but he played it with warmth and a natural, grounded presence that made every moment count.

Ailsa Weymes‑McElderry was delightfully grand as Lady Cravenshire, the upper‑class figure whose every appearance carried an air of effortless superiority. With her impeccably posh accent, sweeping hat and cool composure, she conveyed a woman who clearly felt the Rylstone WI didn’t quite measure up to the standard she expected. It was a very funny role, and she played it with just the right touch of hauteur, making each of her scenes a quiet comic highlight.

Peter Adler gave an engaging performance as Lawrence, the young photographer brought in to shoot the calendar. He captured Lawrence’s mix of nerves and eagerness beautifully, especially when the ladies insisted he stay in the room for the photo session rather than setting up the camera and escaping. His instinctive grab for the vodka bottle to steady his nerves was a terrific comic moment and one that really landed with the audience.

Emily Smith gave an entertainingly over‑the‑top performance as Elaine, the patronising young beautician with pretentious confidence and a slightly superior attitude. Her single scene was a real highlight, and it was especially satisfying when she was abruptly brought back down to earth in her encounter with Ruth — a moment that clearly delighted the audience.

Alison Raffan was great fun as Brenda Hulse, the slightly ditzy guest speaker whose earnest enthusiasm quickly drifted into a wonderfully rambling presentation on vegetables. She delivered Brenda’s meandering chatter with a bright, oblivious charm that made the whole scene land perfectly, and her cheerful lack of self‑awareness played brilliantly against the WI women’s increasingly strained reactions.

Nick Carroll gave a neat, well‑pitched performance as Liam, the photographer brought in for the washing‑powder advert. It’s a small role, but he handled it with confidence and clarity, adding a light touch of humour to the scene.

Sally Hopkins served as Stage Manager, keeping everything running smoothly behind the scenes with calm efficiency and clear organisation throughout. She ensured the show moved from scene to scene with no distractions or delays, allowing the cast to stay fully focused on the performance. Sally also took responsibility for Props, with the highlight naturally being the items used during the photo shoot — the buns, cakes, knitting etc. and all the little touches that helped bring each scene to life.

Set design was provided by Neil Hellard and John Wood, whose thoughtful and well‑constructed staging gave the production a clear and effective visual foundation.

Angela Kinsella, Debbie Webb and the cast provided the costumes, offering a well‑judged selection that supported the characters naturally and kept the look of the production clear and cohesive throughout.

Duncan Hay, Andy Wood and Nick Vaughan‑Barratt provided the lighting, which was well executed throughout with no issues and supported the production effectively.

David Reeves and Nick Roberts handled the sound, which ran smoothly throughout with no issues and supported the production effectively. The musical interludes during the scene changes worked well, keeping the transitions smooth and maintaining the flow of the production.

Congratulations once again to everyone at Parish Players and all those involved with Calendar Girls. It was a genuinely enjoyable production, delivered with clear commitment from the whole team and a lovely sense of community spirit throughout.

Good luck in your forthcoming shows!

Des Wilby

Regional Representative

NODA London District 5