West End Star Joanna Riding on Singing Gary Barlow's Music in The Girls, Defying Nudie Show Expectations & Skipping the Gym

Two-time Olivier Award winner Joanna Riding has staked her formidable reputation on such musical theater classics as Carousel and My Fair Lady, now she is in previews at the Phoenix Theatre for the West End debut of a brand new British musical, The Girls, adapted from 2003 hit British film comedy Calendar Girls. Telling the true story of a community of Yorkshire women of all shapes, sizes, and ages who bared all for a calendar for charity, the show and its creators—composer Gary Barlow (Finding Neverland) included—are clearly near to Riding’s heart, as the gifted performer explained to Broadway.com.

What initially drew you to the role of Annie in The Girls?
It has quite simply one of the best scripts I have ever read, and I knew from that moment that I had to be involved in it. Since then, it’s been through so many workshops but [co-star] Claire Moore and I have wanted to stay involved with it throughout, and we have. We’ve hung on to the piece by our fingernails and are still here because we believe in it as a fantastic piece of theater—and a very honest British piece of theater.

In what way “honest”?
To start with, I’ve never come across lyrics like these [the authors are Gary Barlow and Tim Firth, the second of whom co-wrote the film and is directing the stage show]. They’re brutally honest about how real people feel; they’re not lovely platitudes and sweeping statements. Instead, you’ve got what real people say and think in times of great tragedy. When you come see it, you’ll know what I mean.

Is there room for a stage musical of this material given that the 2003 film already spawned a West End play in 2008?
There is. I mean, sure, some people will say, “Why are you doing this again?” but Tim [Firth] always knew that it would be a musical, so he’s sort of done it back-to-front. He was always carrying songs in his head and wanted to go there and once Gary Barlow got involved, there seemed to be a sort of alchemy between them: these songs have happened very organically.

What is it like to sing Gary Barlow’s music?
It’s immensely singable! I’ve been involved with the show for more than three years and who knows how many workshops and my two songs have remained entirely intact from the first day. By now, I feel as if the songs are singing themselves—they’re that good! And it helps that Gary is a lovely chap—so generous.

Have you had to tone up physically given the nudity required for this story about a group of Yorkshire women who bare all for a calendar to raise money to help fight cancer?
It’s been the reverse, really. I’ve always been very sporty and only have to look at a gym and I put muscle on, so as I get older I’ve gotten wirier instead of softer. My problem now is that I have absolutely no bosom!

Is there the concern that some of the men in the audience might be expecting a sort of old-fashioned nudie musical?
What we’ve become aware of on this already out of town is the wave of love that audiences feel towards us. It’s not about “look at my body,” it’s about celebrating womanhood and the audience’s love and gratitude towards a bunch of middle-aged women going, “Sod it, let’s be brave and do something we would never normally have done because John [the dead husband of Riding’s character, Annie] would have wanted it.”

Does the production subvert people’s expectations?
In a way. In fact, there’s nothing hugely on show; some of the women are more covered than they would be in a bikini. But there’s no doubt that we as a cast can feel the roller-coaster ride that the audience is on. People are laughing, then crying, then roaring again at what in effect is a great celebration of life and courage and family.

If you've seen the film and then the play of the same name, will the musical in any way surprise you?
The great thing is that Tim is very much a man who understands theater as well as film, so he has presented this very differently. In our version, you get more time to know the families and the menfolk and to get to know another generation, so that by getting to know the girls' families, we give more of a damn, so that by the time the calendar does get done, you're really rooting for them. This feels very much like a fresh version of their story, which is maybe why they've tampered with the title: it's very much a new telling. 

What’s your relationship with Angela Baker, the real-life inspiration for your character, Annie?
Where we could, we’ve met the women we’re playing and have heard their stories, which at times were tough to hear because of the deep emotion involved. But when people come up to me afterward and address me as if I were the character, I have to remind them that they’re confusing me with Annie. I haven’t been through what she’s been through, but people find the show so cathartic that they sort of assume I have.

Did you present the material to the real-life women directly?
Yes, we did a performance for the original calendar girls and their friends and family and the local community, but the show has continued on a journey since then. In a way, we’ve had such a long, luxurious time to play with the material that it can be dangerous because you can’t see the forest for the trees. That’s why it feels good to be onstage here in London: we need an audience back.

Are there other classic musical theater roles you have your eye on, having been so remarkable as Julie Jordan and Eliza Doolittle among other parts?
I do and Imelda Staunton is systematically destroying whatever thoughts I’ve had [laughs]! Every time I go to see her, I think, “She’s done it again! No one can do that role better,” whether it’s Miss Adelaide or whatever, so it’s going to take a long time to get her out of my head.

Does it amaze you that the astounding Nicholas Hytner-directed National Theatre Carousel, with you as Julie and Janie Dee as Carrie, was almost 25 years ago?
We were just talking about that yesterday, and I was such a greenhorn when I came to do that: I came out of nowhere and had done very little and all of a sudden it put me on the map. What Nick [Hytner] taught me was to be a lot less busy and to find a stillness that I am capable of, so it was probably the best acting lesson I ever had. Less is more where Jo Riding is concerned, so thank you, Nick. And it doesn’t feel like 25 years ago!

Given the current musical climate in London, how do you think this show will fare?
I think if we have the reaction [in London] that we had when we did it up north [in Leeds and Manchester], I think it will go down a storm and that people will respond very positively. The creative team has written an extraordinary piece but you just never know. There’s always that magical ingredient—almost a mystical ingredient—that can make a show fly, or not.

How long is your contract?
Twelve months and I want every one of those months and more. I haven’t invested in this for so long for it to disappear; I pray it goes the distance.