"We need bigger buns" - How the SJT is bringing Calendar Girls to the stage in Scarborough

The much-loved show, by Gary Barlow and Tim Firth, is about a group of Yorkshire women who create a fabulous fundraising calendar after the death of one of their husbands.

The challenge of bringing such a well-known production, and its legendary naked photoshoot, into the round, has seen the SJT challenged in ways it has never been before, and led to the creation of a new role, that of Intimacy Director.

Choreographer Stephanie Dattani has risen to the challenge, and been with the cast every step of the way.

She spoke to Scarborough News reporter Louise French about the show alongside Musical Director Alex Weatherill and Artistic Director Paul Robinson

Stephanie said: “Intimacy Directing is a new thing that I’m doing, but as a choreographer, I feel that I was already doing that, in a way.

“The challenge has been the very famous photoshoot scene. It’s basically making sure that we’re in a safe environment for all of these women. It’s got to feel like it’s empowering and we’ve got to have some fun with it.

“We’re making sure that everyone is consenting, knows what they’re consenting to, and that their boundaries are being checked in with.

“There’s some triggers in there too that they might need to discuss,” she said. “It’s about grief and blood cancer, so we go through things like that as well.

“Communication is a massive part. We’d never do anything that the actors aren’t comfortable with.

“No spoilers - but the buns are a very prominent part of the show, I mean, they’re on the poster!”

Stephanie is working closely on the show with Musical Director Alex Weatherill.

She said: “I’ve worked with Alex a lot - I think he’s a genius, and knowing somebody well, you already know how they work.”

Alex said: “We kind of telepathically know what each other’s thinking, we let each other get on with it.”

“I’ll say, “Alex, have I got somebody here? And will they be playing an instrument?,” said Stephanie. “Sometimes in my head, I think I’ve got a few people, but maybe they’re playing the trombone at that time, so I can’t use their arms, I’ve got to use just their feet, and I’ve got to make sure that their feet are going at the same time as what they’re playing.”

The challenges behind setting up the “bigger buns” scene in the round have posed a particular problem for the team.

Stephanie said: “For the most part, it’s set up like a photoshoot, so they will just have to worry about themselves and their body.

“It’s quite carefully worked out,” said Alex. “We refer to it as the fan dance, it’s not about whether you get to see something, it’s about the moment when the photo is taken, and the comedy around the set up.

“We don’t want to see anything, the most important thing is that all of the actors feel safe, and because we’re in the round, which is extra hard, that it’s all dealt with correctly.”

Writer Tim Firth said: “The art of the musical’s nudity lies in what is withheld. The choreography of this section is best described as ‘fabulous concealment’. Should we see anything we oughtn’t, the scene will deflate like a soufflé on which the oven door has been too quickly opened.”

Because the musical is dependent on actor musicians, casting has taken several months. Alex said: “We worked with amazing casting director Annelie Powell, and we worked out that we needed this core set of instruments, the two brass are really important to the original, and we wanted to introduce a third brass that would give us the Yorkshire brass band sound.

“But there are other moments which are quieter, and if you’re playing a trumpet three feet from an audience member, you’re not going to hear the dialogue.

“One of the cast, Sarah, is principally a trumpeter, but then she also plays double bass, and ukelele, the most random selection of instruments, so you end up with this very large jigsaw puzzle.”

Paul Robinson. “I’ve always thought that Calendar Girls would go down well here. It even has a song in it called Scarborough.

“I’m indebted to Tim for adapting it.”

“I should mention our incredible creative team, especially Helen Coyston, our amazing designer, who spent hundreds of hours visualising the world of the play.

“It has been a total treat working with her, she’s one of those people who believes everything can be done.

“It’s such a big-hearted play, it’s so funny, so raw and emotional, and I just want to say how lucky I am to have such a talented cast who I know are going to make this a wonderful show.”

Calendar Girls the Musical can be seen at the Stephen Joseph Theatre from June 27 to July 25, Tickets for the SJT are available from the box office on 01723 370541 and online at www.sjt.uk.com