Queensland Theatre’s Calamity Jane: Laughter, Live Music, and lots of Escapism.

Touted as a ‘modern take’ on the classic 1953 musical, Calamity Jane at Queensland Theatre certainly updates the presentation, but I’d be cautious about calling it ‘modern’.  Reimagined in 2017, this version ditches the traditional setup in favour of saloon seating, a dose of modern improv, and some delightful fourth-wall breaking — easily the most charming element of the production. But when a show still ends in three heterosexual marriages, leans on outdated gender tropes, and throws around incest jokes and queer-baiting, the word ‘modern’ starts to lose meaning.

That said, it’s hard to fault the production entirely for the baggage it carries. This is, after all, a “buy-in” rather than a commissioned work—which means the bones of the show are stuck in 2017 (if not earlier).

Despite the constraints, the cast infuse the production with a refreshing vitality. The improvised lines—clever jokes about Cyclone Alfred, Ray Gun, and witty local references—were a standout, bringing a vibrant energy that had the audience laughing nonstop and perfectly enhancing the show’s unserious and comedic atmosphere.

The fourth wall also didn’t stand a chance here, and thankfully so. The audience interaction and direct address were among the most enjoyable parts of the production. They felt authentic, easy, and well-handled—a real highlight that kept the energy high and the stakes low, in a good way. I just hope the audience members in the saloon seating knew what they were in for.

This was perfect recession-era theatre: light, engaging, and escapist. For a public still somewhat wary of returning to the theatre post-COVID, it offered a charming entry point. Gunfights, robberies, and no running water? A refreshing change from the daily news cycle.

The real standout of this production, however, was the ensemble. Every performer was exceptional—nailing accents, picking up multiple instruments, and jumping between characters with polish and precision. It was a joy to watch them work, and their professionalism elevated the whole show.

As for the much-talked-about ‘saloon seating’? Cosy, yes. Necessary, no. It felt more like a novelty (and a money-spinner, costing over $100 a spot) than a functional design choice. A complete flat-floor setup that fully commits to immersive saloon seating might have made the concept feel more integrated. Though I am not sure if this is possible in the Bill Brown Theatre?

In the end, Calamity Jane isn’t the calamity I expected - it’s polished, high-energy, and undeniably fun. If you’re after a few tacky laughs and an excuse to wear a cowboy hat, it’s a worthwhile night at the theatre. But be warned, if this is what passes for a “modern” musical, it might be time to commission something genuinely new.