Calendar Girls the Musical

06/03/22 @ From 10amCalendar Girls the Musical


The death of a much-loved husband prompts a group of ordinary women in a small Yorkshire Women's Institute to do an extraordinary thing. Blasting away all preconceptions of what it is to be in a women's institute, they decide to do an artistic nude calendar to raise money for charity. Upturning preconceptions is a dangerous business and none of them expect the emotional and personal ramifications, but gradually the making of the fabulous and funny calendar brings each woman unexpectedly into flower.

The true story of the Calendar Girls launched a global phenomenon, a million copycat calendars, a record-breaking movie, stage play and musical written by Tim Firth and Gary Barlow which coined the term "craughing” - the act of crying and laughing at the same time.

With unforgettable Gary Barlow songs, every performance continues to add to the millions already raised for charity and also prove that there is no such thing as an ordinary woman.

Audition Notice

Calendar Girls the Musical draws strongly on the idea of a supportive community and in particular the strength of the friendships between a group of women.

There are many ensemble scenes for the whole cast and for the actual six ‘Calendar Girls’. The production requires a large cast including men and women playing age 16 to 80s (Our cast will be age 18+)


Auditions will take place on Sunday 6 March at Christleton High School, Village Road, Christleton, Chester CH3 7AD


CHRIS – 50s

You want Chris at your party. She will talk to people she doesn’t know, find things to say to fill silences and generate laughter. Part of this is because Chris is at home in crowds, holding court, being the centre of attention. Without Chris in her life, Annie would be better behaved, her life less fun. The two of them are like naughty schoolgirls.

Ideal car – who cares, as long as it’s a cabriolet. Ideal holiday – Algarve.

ANNIE – 50s

Annie will join in mischief but is at heart more conformist and less confrontational than Chris. After Chris has put a waiter’s back up in the restaurant, Annie will go in and pour calm. The mischievousness Chris elicits saves Annie from being a saint. She has enough edge to be interesting, and enough salt not to be too sweet.

Ideal car – who care, long as it’s reliable. Ideal holiday – walking the English countryside.

Together these two are greater than the sum of their parts. They would be lesser humans had they not met each other. Each is spiritual mustard to the other’s meat.

CORA – late 30s, early 40s

Cora went to college and soon came back pregnant and tail-between-legs. She has too much native resilience to be downtrodden. The joker of the pack, she never plays the fool. Her wit is deadpan. It raises laughter in others, but rarely herself…Her relationship with her son is more akin to that between Chris and Annie.

Ideal car – who care, long as the sound system is loud. Ideal holiday – New York.

JESSIE – 70s/80s

Get on the right side of Jessie as a teacher and she’ll be the teacher you remember for life. Get on the wrong side and you will regret every waking hour. A lover of life, Jessie doesn’t bother with cosmetics – her elixir of life is bravery. Jessie goes on rollercoasters. Her husband has been with her a long time and is rarely surprised by her actions. Jessie bothers about grammar and will correct stallholders regarding their abuse of the apostrophe ‘s’.

Ideal car – strange looking European thing which is no longer manufactured. Ideal holiday – walking in Switzerland or Angkor Watt.

CELIA – 50s

The fact that Celia is in the WI is the greatest justification of its existence. She always feels like she’s drifted in from another world. Which she has. Ex air hostess and life-liver, there is a rebelliousness in Celia which sets her apart from the vapid materialism of her husband’s golfing peer group and made her defect.

Ideal car – Porsche, which she has. Ideal holiday – Maldives, where she often goes.

RUTH – 40s/50s

Ruth’s journey is from the false self-confidence of the emotionally abused to the genuine self-confidence of the woman happy in her own skin. Ruth is eager to please but not a rag doll, and despite being Marie’s right-hand woman she is desperate to be the cartilage in the spine of the WI and keep everyone happy. She has spine herself – if she was too set, no-one would want her around. But they don, and they feel protective of her because they sense there is something better in Ruth than her life is letting out. They are proved right.

Ideal car – at the start, whatever Eddie wants; at the end, whatever she wants. Ideal holiday – at the start wherever Eddie is, at the end wherever he isn’t.

MARIE – late 40s, early 50s

Marie has gradually built the current ‘Marie’ around herself over the years as a defence mechanism. She went to her Oz – Cheshire – and found Oz didn’t want her. She came back scorched. The WI is a trophy to her, which justifies her entire existence. There is a lingering part of Marie with the ‘Marie’ that would love to be on that calendar.

Ideal car – something German and well-valeted. Ideal holiday – a quasi-academic your of somewhere in Persia advertised in a Sunday Supplement which she could then interminably bang on about.

JOHN – 50s

John is a human sunflower. Not a saint. Not a hero. Just the kind of man you’d want in your car when crossing America. When he dies it feels like someone somewhere turned a light off.

ROD – 50s

You have to be a certain kind of guy to stick with Chris and Rod loves it. He can give back what he gets and has a deadpan humour which has always made Chris laugh. He drinks a lot but never so much as to have a problem. He would work every hour to make his shop a success. And John was his mate, even though the relationship was originally channelled through their wives.

LAWRENCE – late 20s, early 30s

Hesitant without being nerdy, Lawrence is a shy young man with enough wit to make a joke and enough spirit to turn up at the WI hall in the first place. When he arranges to the shots he is close to nudity but only sees the photo.

COLIN – 70s/80s

Jessie’s husband, and as rebellious and compliant as that would suggest.

DENIS – 50s

Celia’s husband, working class lad done well, and now captain of the golf club. Met her on a flight.



Two sisters who are part of the fabric of the village and he manual labour backbone of the WI but say nothing except their drink offering. Until the end.


Speaker at WI. Can double as:


The local dignitary who gives the award at the Spring Fete.

DANNY – 16

Chris and Rod’s son, the conscientious head boy.

JENNY – 16

Who we find out is Marie’s daughter and who has rebelled against her mother for years.

TOMMO – 16

Cora’s son, Danny’s best mate who is also his mum’s best mate.




10:00- 12:00 for the following parts







The process will begin with music followed by script

1:00 -4:00 pm for the remaining characters which will be similar


Please complete this registration form:


Early musical rehearsals will begin on Tuesday 19th April (just after Easter) at CHRISTLETON HIGH SCHOOL Subsequent rehearsals will take place at




LL11 2NN

Before auditioning the production team would ask you to be open with us about any pre booked commitments e.g. holiday which could occur during this relatively short rehearsal period. A draft rehearsal schedule will be available online prior to 6 March

Calendar Girls – Singing Auditions

Chris Sunflower (2:00 - 3:00 on cast recording; from ‘Don’t stop to think you might-n’t make it’ to ‘should have their day in the sun’)

Annie Kilimanjaro (1:05 - 2:27, and 3:14 - end, on cast recording; from ‘Take a three-piece suit’ to ‘cocoa up a flight of stairs’; and also, from ‘a day will come…’ to ‘it is not yet’)

Cora Silent Night (0:37 - 0:59, and 2:12 - 2:49, on cast recording; from ‘Whoa! Who wants a silent night?’ to end of this chorus; and final chorus in higher key.

Jessie What Age Expects (0:11 - 1:04, on cast recording; from ‘How silently it begins’ to ‘act the colour of your hair’)

Celia So I’ve Had a Little Work Done (0:20 - 0:59, and 1:50 - end, on cast recording; from ‘So I had a little survey…’ to ‘scaffolding in the end’, then from ‘cause if a girl can turn on all the lights’ to ‘who knows it now’) - please note the cast recording is in a higher key than the score - so we’ll be singing it a 4th lower in the show.

Ruth My Russian Friend (1:54 - 2:45, on cast recording; from ‘All the suspicions…’ to ‘too invincible to give a damn’)

John One more year in Yorkshire (0:13 - 0:51, on cast recording; from ‘Monday ten past eight’ to ‘on her wedding day’ - sing all lines, regardless of character changes on recording)

Rod Spring Fete (0:19 - 0:39, on cast recording; From ‘Once every year…’ to ‘1603’ - woman’s voice on cast recording)

Colin Girls (1:45 - 2:06, on cast recording, from ‘And mine…’ to ‘alas, only me’)

Denis Girls (0:57 - 1:36, on cast recording; from ‘Celia - when we met’ to ‘angel down to earth’)

Danny Protect Me Less (1:24 - 2:04, on cast recording; from ‘Dignity and self-respect’ to ‘from evil and let them be’)

Jenny Protect Me Less (0:12 - 1:15, on cast recording; from ‘once a famous poet said…’ to ‘protect me a little less’)

Tommo Protect Me Less (1:24 - 2:04, on cast recording; from ‘Dignity and self-respect’ to ‘from evil and let them be’)

All Other Characters No Solo Singing in the show and will be required to take part in an ensemble singing workshop which will be taught at the audition.