Calendar Girls. Louth Playgoers. Riverhead Theatre. 08 September 2025.

The Louth Riverhead Theatre’s production of Tim Firth’s Calendar Girls is, in every sense, quintessentially British—charming, humorous, deeply touching, and imbued with that rare combination of sentiment and subtlety that so defines Firth’s writing. This simple description hardly does justice to a show that manages to make you both laugh and cry in equal measure, yet always leaves you feeling uplifted.

Under the sensitive direction of Sarah Elliott, assisted by Michelle Brown, the play brings to life the warmth and wit of small-town Yorkshire as Annie and Chris—portrayed with grace and vivacity—lead a band of women in a bold, heartfelt fundraising endeavour after Annie’s husband, John, passes away from leukaemia. The idea? A nude calendar, filled with women of a certain age, engaging in everyday Women’s Institute tasks—jam making, knitting, flower arranging... and so much more.

The cast, a strong ensemble of 10 women and 3 men, delivers polished performances across the board. I won’t presume to know the individual actors—but I can celebrate each role and what they bring to the stage:

Newcomer to Louth Playgoers, Debbie Appleyard plays Chris, the effervescent spark, she’s the life of the party in any room and the motivating force behind the calendar revolution. Appleyard brings a vivacity and groundedness to a role that would be easy to overplay.

Her partner in the calendar shenanigans is Holly Mapletoft as Anne. More grounded, subtle, and deeply emotional, Mapletoft's Anne is portrayed with warmth and emotional resonance that anchors the entire performance.

The joker with a past, delivering dry wit with impeccable timing is Cheryl Lamming, as Cora, who accurately and effectively presents the conflict she feels worrying about her unseen daughter's opinion of her.

Janet West gives a wonderful performance as Jessie, a retired teacher, whose humour and buoyant spirit offer comic relief and soul in equal parts.

The glamour queen of the group, poised, confident, always a breath of fresh air, Celia, is played with verve and vitality by Louise Ray. Her Christmas scene is a great moment of timing, delivery and assuredness.

I really enjoyed Suzanne Lovett's performance as Ruth watching as she evolves from a mousey, exploited wife into someone self-assured, confident and decidedly feisty showing a lovely emotional arc. She will gain applause every night when delivering her piece de resistance though I will not spoil that here.

Adele Simpson has, arguably, one of the more difficult tasks playing Marie, the ambitious WI chair, fussily social-climbing but ultimately endearing—her performance adds layers of social satire but could easily be ignored because of the raucous humour afforded to her peers but Simpson delivers an accomplished performance.

Other roles include Vicki Parker as Brenda Hulse, the dull guest speaker that the women dread and seek to sabotage. Michelle Willoughby plays Lady Cravenshire, bringing class and elegance to the role. Taya White brings the vapid, patronising beautician Elaine to life effectively.

The three male actors in the play all bring wit, charm and a helpful presence to ensure that the action continues, though this play is really a vehicle for the female cast. Robbie Mapletoft plays Annie’s gentle, quietly humorous husband, John. His presence, both when seen and unseen, looms large throughout the play, shaping its emotional core.

Michael Parker plays Rod, Chris's stoic, dry-witted husband, a steadfast complement to his wife's vivacity and drive. Parker gives a really credible performance and offers many moments of humour.

Finally, Jonathan Janney-Cryans plays two characters, initially as Lawrence, the shy, witty photographer who captures more than just pictures—the tension, humour, and humanity of this wild venture. He then performs as Liam, a slightly, sleazy ad man.

The play’s success springs from the way each of these characters, no matter how big or small their part, contributes to a rich communal tapestry—threaded with friendship, loss, humour, and courage. The beautifully choreographed “what we don’t show” nude scenes are executed with a delightful mixture of playfulness and tact—an ingenious theatrical flourish that speaks volumes about Firth’s deft touch. The emotional weight of John’s passing is handled with gentle depth—far from melodrama, it’s rendered with quiet affection and respect, never forgetting that these women are real, funny, tender, and bold. The friendships—especially between Chris and Annie—are the beating heart of the show: hilarious, sometimes fractious, always fiercely loyal.

This production encapsulates everything that makes Calendar Girls a theatrical phenomenon: humour, heart, and a profound sense of community. The Louth Playgoers cast and creative team deliver something heartfelt and real—not just a show, but an evening that lingers with you. In short, Calendar Girls at the Riverhead Theatre is exactly the sort of production to leave the audience beaming—laughing, wiping eyes, and feeling grateful for the capacity of theatre (and friendship) to illuminate the human spirit. The theatre has even produced their own calendar to raise funds for charity in place or a programme for a minimum donation of £5 - do buy one! The play runs from 9 - 13 September.

Dr Andy Evans. 09 September 2025.