Reporter: Calamity Jane - 7th July 2003
When Doris Day blew in from the Windy
City as the buckskinned tomboy in the movie
"Calamity Jane," she was ornery but
toothsome, and it didn't take much for handsome
Howard Keel to figure out that under all that
trail dust and chapped leather was a darned
tootin', fine-lookin' gal.
But that was
1953, and times have changed. Or at least they
have everywhere but on the stage of the
Shaftesbury Theater, where the denizens of
Deadwood City sing about the black hills of
Dakota, ogle showgirls at the local saloon and
listen to Calamity Jane's tall tales of fighting
Injuns, shooting gunfighters and riding the Pony
Jane" has songs by Sammy Fain and Paul
Francis Webster. At their high end, Fain and
Webster could turn out such Oscar-winning numbers
as "Love Is a Many Splendored Thing,"
from the 1955 film of the same name, and
"Secret Love," from "Calamity
Jane." "Calamity Jane" also boasts
lively show pieces in "The Deadwood Stage
(Whip Crack Away)," "Windy City"
and a lyrical ballad, "Black Hills of
Dakota." After that, it all gets a bit grim:
With 11 other songs in the show, it's no wonder
the movie is best recalled for Day's zestful
performance and lovely singing.
In this stage
version, most of the weight falls on Toyah
Willcox, a former U.K. pop and soap star. It's a
testament to her sheer determination to
ingratiate that she just about carries it off.
Employing an accent that combines corn pone with
grits and bits of Strother Martin, Willcox
bounces onstage and, leaving no surface untouched
whether vertical or horizontal, keeps bouncing
until the final curtain.
lighthearted and engaging production gives
Willcox plenty to bounce off, including two
leading men: Michael Cormick, a laconic,
slow-moving Wild Bill, and Garry Kilby, as a
handsome cavalry officer. Cormick wins the day
and singing honors with a fine tenor voice deep
enough to suggest echoes of Keel's rich
Kellie Ryan is
appealing as Kate Brown, the maid Jane brings
back from Chicago to perform in Deadwood,
thinking she is a top showgirl. Kate promptly
falls for Jane's beloved. This secret love
doesn't stay secret very long, however, as Wild
Bill plays his hand. It's all very predictable,
but this really never matters. Thanks to a cast
of enthusiastic pros and the tireless Willcox,
what should seem tired and dated ends up simply
old-fashioned and charming.
By Ray Bennett
Curtain Up: Calamity Jane - 5th July 2003
brings this touring, stage adaptation of the 1953
Doris Day film Calamity Jane to London's
Shaftesbury Theatre for a three month run. Set in
the Wild West of Oklahoma and Annie Get Your
Gun!, Calamity Jane is very loosely based on the
real life story of Martha Jane Canary known for
her daring acts of heroism and for sporting male
attire. Some years back on Broadway, Kathleen
Chalfant recreated the real Calamity Jane in True
History and Real Adventures.
interpretation of the Wild West is firmly
ensconced in the 1950s, sexism and anti-Native
American attitudes prevailing, the tunes are
simply wonderful. "Secret Love" won an
Oscar for best original film song, but songs such
as "The Black Hills of Dakota",
"Windy City" and "The Deadwood
Stage" have also become classics.
The story tells
of an Indian Scout, Calamity Jane (Toyah
Willcox), a gun toting, hard riding woman,
heroine of several bold exploits and spinner of
tall tales. She promises to bring a showgirl from
Chicago to the town of Deadwood, but instead of
the famous singing star Adelaid (Emma Dodd), she
fetches her understudy, Katie Brown (Kellie
Ryan). Katie causes a lot of excitement in
Deadwood and threatens to steal
Calamity's beaux, Wild Bill Hickok (Michael
Cormick) and Lt Danny Gilmartin (Gary
of the town of Deadwood hang around for
atmosphere, the saloon owner, the women, the
prospectors, the soldiers. The mis-booked male
saloon star Francis Fryer (Phil Ormerod) who is
meant to be a woman, Frances Fryer, so as not to
disappoint does a show in drag and almost creates
a riot. However the real Chicago saloon dance
scene starring the provocative Adelaid is about
as raunchy as a Sunday School outing.
puts an immense amount of energy into the role
and a certain vigorous charm. She sings well
although some of the early songs seemed
underpowered and her American accent is passable,
but I shall avoid the temptation to compare her
with Doris Day. More at home in her Redskin
outfit than a ball gown, her performance is full
of verve. Michael Cormick as Wild Bill Hickok is
a find, he won a series of New Faces in his
native Australia and his singing voice is
dance numbers are fun, often set against
outstandingly pretty red-purple sunsets with the
silhouetted famous Black Hills. I liked too the
full size, authentic looking recreation of the
Deadwood Stage which inspires the "Whip
Crack away" song. Miniature houses light up
at night to give an impression of the main street
of Deadwood. This is a small budget musical
which, should you miss, would not be a calamitous
Croydon: Wild Bill's the man for me - 5th July 2003
If you were
giving prizes for the West End actor performing
with the most energy, Toyah Willcox would
certainly be in the running for her portrayal of
the whip-cracking tomboy heroine of this musical.
national tour (which pulled out of its date at
Wimbledon Theatre so the actress could take part
in I'm A Celebrity...Get Me Out of Here!), she
looks as fit as a fiddle and invests the role
with enormous vigour, constantly getting
man-handled around the stage.
all looks a bit too theatrical for my liking. And
that is more or less where this Calam begins and
ends. All that exuberance succeeds in
obliterating any layers of character that lie
beneath the girl's roughneck façade.
Sure, she gets
upset when the guy she fancies, Lt Danny
Gilmartin, gets the hots for another, but there
is no vulnerability attached to the tears.
is a bit of a disappointment as well, with the
great Secret Love failing to hit the spot.
As anyone who
knows and loves the Doris Day movie will know,
the disaster-prone Calamity ends up with her
long-time love-hate rival Wild Bill Hickock. And
be the man
for me too!
Cormick's most recent West End appearance was as
the Prince in the ill-fated Romeo and Juliet. He
has huge stage charisma and a sexy singing voice
which makes you go weak at the knees. His Higher
Than a Hawk
is the hit
of the show.
young actresses to look out for are Kellie Ryan
as Katie Brown and Abigail Aston as Susan - both
new to the profession and, on this showing, they
have a bright future.
The Stage: Calamity Jane - 3rd July 2003
musical reminds us of a time not only before
Sondheim but Rodgers and Hammerstein. Yet it
proves that this era, in which the action was
interrupted by song and dance numbers that had
slight relevance to the plot, had something to
commend it, if only because you knew what you
were going to get eventually.
Of course this
was not originally a stage musical at all but a
film vehicle for Doris Day, though it has been
quite neatly adapted by Charles K Freeman. The
songs, by a couple of established film composers,
are fairly run of the mill, but The Deadwood
Stage, Windy City, Black Hills of Dakota and,
notably, Secret Love, still have the resonance of
a more innocent age.
figure is, of course, the tomboy who is more at
ease with hor-ses, whips and guns than men until
she finds that by throwing aside her fringed
jacket, cowboy hat and boots and scrubbing her
face that not only are men immediately attracted
but she finds herself falling in love with both
the upright army officer and, more unexpectedly,
with the taciturn Wild Bill Hickok.
Not exactly a
feminist text, then, but entertaining all the
same and boasting an almost staggeringly
energetic performance from Toyah Willcox, whose
non-stop activity in a variety of fields has
hitherto prevented her from demonstrating very
considerable stage talents.
She has strong
support from Michael Cormick, almost Howard Keel
reborn, as Wild Bill, Kellie Ryan as the maid
masquerading as a big city star and a lively
young company who revel in Craig Revel Horwood's
Guide London: Calamity Jane - 1st July 2003
is a perky little puppy of a show that wants
nothing more than to bounce around, chase its
tail and let you love it. It is so good-spirited
that criticising it (and I suppose I'll have to
before I'm done) is as pointless and curmudgeonly
as refusing to pet that puppy because it's not
Based on a
forgettable 1953 Doris Day movie, the show tells
of innocent confusions and romance in the Wild
West, centering on a romantic quadrangle. Tomboy
Jane is constantly feuding with Wild Bill Hickok
but soft on Calvary Lieutenant Danny, while both
men have fallen for Katie, the new saloon singer
in town. I won't spoil the ending or surprise you
when I report that Jane eventually puts on a
dress and she and Bill get together, leaving the
other couple to join the double wedding.
The movie had
only a half-dozen songs by Sammy Fain and Paul
Francis Webster, so the show has added a few more
out of their catalogue. While only the
Oscar-winning Secret Love is really of much
merit, Windy City (a blatant rip-off of Rodgers
and Hammerstein's Kansas City) has been turned
into a rousing dance number, and the others are
attraction and dynamic engine of the show is star
Toyah Willcox. The pop singer, actress and
occasional Teletubbies voice is onstage almost
continuously, drawing on reserves of perkiness
that could light up a medium-sized city. She
sings while driving a stagecoach, she sings while
lying on the floor, she sings while cracking a
whip, she sings while hanging from the rafters,
and if she ever actually stops smiling, I missed
the moment. While so much sparkling could become
annoying in a less personable and good-natured a
performer, you can't help but give in and just
enjoy the show with her.
and Garry Kilby are appropriately handsome and
manly as the love interests, though Kellie Ryan
seems to have been cast as Katie with an eye
toward making sure she never threatened the star,
either in appearance or singing.
Curtis keeps everything bouncing along, and
choreographer Craig Revel Horwood borrows wisely,
openly quoting both Michael Kidd and Bob Fosse in
his high-energy dance numbers.
Hamlet. It isn't My Fair Lady or even Mamma Mia,
but it doesn't pretend to be. It wants to be a
nice, simple, fun-for-the-whole-family show, and
it succeeds engagingly.
Daily Mail: Going great guns! How
the West End was won by Toyah - 27th June 2003
has survived not only the jungle, but also close
proximity to Phil Tufnell and Danniella
survive a West End opening night in a role
belonging to Doris Day in the 1953 movie, and in
a stage version of that film that has never had
any credibility or track record?
Well, she does,
with a wham and a bam and a thank you Calam! No
cries last night of 'I'm a Calamity, Get Me Out
jaunt has had the unexpected side-effect of
making her look even more like a boy than the
irreclaimable tomboy she plays: Indian lookout on
the Deadwood Stage and fall gal in Dakota's
Her shanks have
shrunk and she barely fills the seat of her own
pants. But she's still the same get-up-and-go
Toyah. What she lacks, of course, is Doris Day's
glamour and charm.
affection for Wild Bill Hickok finally comes
tumbling out with her golden tresses in the
Oscar-winning song Once I Had A Secret Love, she
yelps like a puppy. The show needs something more
She and Bill -
the handsome, well-voiced Michael Cormick - are
like Beatrice and Benedick in Shakespeare's Much
Ado, loving to hate each other so much that
insults become foreplay.
'We're like a
seven-year itch to each other,' says Calam, 'but
it's a lot of fun scratching.'
Way out there
in the black hills of Dakota - those Doris Day
songs are coming back to you now, aren't they? -
Calamity boasts she can provide a top cabaret act
from Chicago. Instead she returns with her maid.
The maid does fine when she performs as herself,
and then falls in love with the other romantic
possibility in Calam's life, the handsome cavalry
A lot of the
show feels and sounds like a less serious version
of the ground-breaking Oklahoma!
Toyah has been
on the road with Calamity for a couple of years,
but Ed Curtis's production - despite a few blips
in the microphoning department - is fresh and
Higlett's designs are a treat, clean and
colourful, with the township represented in
illuminated miniature and clouds forming in the
great black and golden skies of a John Ford
The songs, from
an age of musical comedy innocence, are all
lovely and beautifully crated.
And there's a
notable West End debut from delectable Katie
Brown as the maid from Chicago who gets made in
at last night's first night of a cowboy classic
The Times: Whipped, cracked and
one of the bright, tuneful songs that pack
Charles K. Freemans stage adaptation of
Calamity Jane, the pines are so high in the black
hills of Dakota that they kiss the sky. But the
simple timbering of Simon Higletts set
means we must take that on trust.
What is rather
more certain is that white folks in Dakotan injun
territory spend large parts of their days
bounding about, whooping loudly and chorusing
whipcrack away, whipcrack away, whipcrack
film had not much subtlety or finesse
another Dakotan trait seems to be falling deeply
in and out of love in a millisecond but it
had Doris Day as the title character and, as I
recall, lots of energy.
version has Toyah Willcox in the lead and, when
she is acting the tomboy in her cowgirl suit,
even more energy. Think of a hyperactive
leprechaun, or an elf who has overdosed on
adrenalin, and you have her Calamity Jane.
skips, pants, bounces, bustles, gasps, grins,
flaps her arms, waves her pony-tail, bangs off
her pistols, falls to the floor, scampers onto
podia or up walls. You would not be surprised if
she somersaulted up to the flies and tore apart
the lighting rig.
She is the
bubbling epicentre of Ed Curtiss
relentlessly larky production. She batters you
into being charmed by her. It is
means that the story whizzes by, which is just as
well, for its nothing special. You quickly
twig that Deadwood, Dakota, is the sort of town
where conversation consists of things like
thats as easy as skinning a
possum or I can trust that as much as
I can a blind rabbit.
So it is
understandable that the local theatre owner
should want to import a sexy singer. But, thanks
to one of Calamitys trademark muddles, they
get the famous Adelaid Adamss dresser
instead of the lady herself.
I had better
not recount precisely what ensues, but I can say
that there are male stag battles, lots of sexist
jabber about nice female women and, as an
emotional climax, a nice rendering of Once I Had
a Secret Love. Oh, well, it wont do too
much harm to reveal that one of the singers is
Wild Bill Hickok, who is here redefined by
Michael Cormick as Rather Tame Bill Hickok: a
big, commanding chap who, unlike the frantic folk
around him, arrogantly lolls and saunters and
never has a hair out of place.
capable enough support from Kellie Ryan, Garry
Kilby and others, but, ultimately, nothing to
explain precisely why anyone decided to transpose
a well-loved movie from the screen to stage. Or
are the producers hoping to repeat the box-office
success of that other former film Chitty Chitty
Bang Bang? If so, they will probably be
City Live: Calamity Jane - 29th June 2003
If you are
interested in watching fantastic live
performances and are into musicals, I highly
recommend watching Calamity Jane at
the Shaftesbury Theatre. But even if musicals
dont appeal to you, I still highly
recommend you to give it a go.
You may have
seen the posters in the London Underground
starring Toyah Willcox and to be honest, the
poster lacks the appealing factor to us students.
However, after going to see Calamity Jane for
real I was surprised how entertaining and
exciting it was.
is simple to follow, and for those international
students, you dont really need splendid
English to understand what is going on, although
at times I did struggle to understand the actors
and actresses as they spoke in American accents.
But who cares about that as they have magnificent
singing voices and, accompanied by a live
orchestra, the performance is top notch and as a
result the atmosphere is wonderful.
The show is
about three hours longs with a 20-30 minutes
break halfway through. The only refreshment I saw
was Haagen-Dazs and it is costly at £2 for a
tiny tub. Bringing your own drinks and snacks is
recommended if you want to keep the cost
fairly expensive. Standard ticket prices are from
£10 and up to £37! However, do not be put off
by these prices because lucky you that you are a
student and may only need to pay £15 (up to 60%
off of the asking price). Thats a great
deal. Your student card is required. In my
opinion I think it is worth the money and that
going to see this show is many times better than
going to the cinema.
decide to go, it essential to check out
www.calamityjanethemusical.co.uk for all the
Standard: I'm a Calamity, get me out of here - 27th June 2003
In 1953, Doris
Day briefly laid aside blonde perfection and
doe-eyed domesticity to play Calamity Jane, a
Wild West tomboy with little dress sense and
rather more aggressive motives than Mae West for
asking a man if he had a gun in his pocket.
Willcox smears fake mud on her face to become the
bullish cowgirl with a bullet habit, presumably
hoping to attract better reactions than
"She's a calamity, get me out of
was devised by Warner Brothers as a retort to
MGM, which won enthusiastic audiences in 1950
with its film of the popular Western musical
Annie Get Your Gun.
somewhat naive charm of the thigh-slappin'
gun-totin' original has dissolved in a production
reeking of gingham and lukewarm feminism, which
does not have enough tongue-in-cheek humour to
carry off Calamity's transition from bar-brawling
man-fighter to petticoatwearing man-eater.
emerged from I'm A Celebrity, Get Me Out Of Here!
she said: "I enjoyed not bathing, I enjoyed
not changing my clothes and I enjoyed just
She could have
been describing the lifestyle of the woman behind
her character - a 19th century tomboy who joined
the army, became a scout for General Custer and
led a harddrinking existence, sleeping under
wagons, camping out in fields, and lurking in
It would be
easier to imagine her playing the historical
figure than the more sentimental caricature in
the musical, not least because 21st century
audience members would not have to deal with the
scene where Calamity Jane discovers the joys of
The song A
Woman's Touch is the lowest point, in contrast to
the sub-Cole Porter but nonetheless amusing
number where Calamity and her soon-to-be love
Wild Bill Hickok (does that make her a Hickok
Blonde?), hurl such simmeringly intimate insults
at each other as "In the Christian/You're
the why/In the ointment/You're the
All right, it's
not wordplay at its most sparkling - and perhaps
this is the real problem: despite Ed Curtis's
lively direction and Sammy Fain's catchy tunes,
the script is not nearly sharp enough for
Calamity Jane to be admired either as a period
piece or as a retro-classic.
As a result,
the production lives or dies by Willcox's
performance, an unfortunately forced
twodimensional affair, which drags the audience
through the dust of a quest, first to bring an
actress who's all fibs and fishnets to entertain
the men of Deadwood, and then to win a man who
can deal with the fact that Calamity is the kind
of wife who's happier to whip up a fight than a
Willcox's pop-singing background, other members
of the cast shine more as vocalists - Michael
Cormick, in particular, as Wild Bill Hickok, has
a voice that could have been matured in a whisky
may have been better off sticking to her guns,
but the producers should bite the bullet and
concede that this is little more than a dated
romp though the not-so-wild West.
Jane - 28th
something about Calamity Jane that smells of the
1950s. When women were being exhorted to put
their menfolk first and become homemakers, this
slice of artificial American history would have
been just the thing to reinforce the casual
sexism of the times.
After all, a
song stating that a "woman's touch"
would be all that was needed to convert a
ramshackle shack into what estate agents would
now call a bijou cottage would have been accepted
by both sexes. And of course, 1950s' audiences
would have been blind to the lesbian undertones
and slices of high camp of the piece.
However, as Ed
Curtis's production decides to play the whole
thing straight. It's as if 50 years of showbiz
history has passed us by, and we're watching a
piece of the past, without any post-modern
touches. It's all curiously dated.
Sammy Fain and
Paul Francis Webster's musical hasn't aged well
either. Of course, "Secret Love" and
"Deadwood Stage" are fine songs and
hold up well, but the rest are a decidedly mixed
bunch - and the production's lacklustre dancing
doesn't help lift the atmosphere.
What's more, at
the West End press night, the acoustics were
dreadful. From the middle of the stalls, too many
words were indistinct. I wasn't sure whether this
was a problem with the theatre acoustics,
malfunctioning radio mikes or poor diction (or a
combination of all three). Certainly, Garry Kilby
as Danny Gilmartin was having a torrid time with
his mike, which seemed to inhibit his
problem is Toyah Willcox. Whisper it softly, but
she's too old for this part. That would be
acceptable if she had the singing voice to
compensate - but she hasn't. It's far too weak to
carry the lead part in a West End show. It was
good to see her fellow jungle celebrities in the
audience (well, Fash, Wayne and Sian), but Wilcox
seemed to be struggling from the outset. That
said, she certainly isn't short of enthusiasm -
flinging herself into all proceedings with gusto,
she very nearly carries it off.
It's also hard
to get enthusiastic about Simon Higlett's set.
There's a delicious Spinal Tap moment when the
curtains reveal some miniature houses duly
straddled by the chorus to an unintentionally
The only real
saving grace of the evening is Michael Cormick's
Wild Bill Hickok who doesn't put a foot wrong. A
commanding presence, a superb singing voice with
admirable diction, he's a joy. Phil Ormerod and
Abigail Aston as the young lovers, Francis and
Susan acquit themselves well, too.
doesn't quite live down to its name - it's
doesn't rank as a great theatrical disasters.
However, if it's trying to pass itself off as a
proper West End musical, its audience is entitled
to expect something a bit more magical. After
all, while it might look like a 1950s'
production, it's certainly not charging 1950s'
Guardian: Calamity Jane - 27th June 2003
heroine dresses like a man. Her prowess with a
gun deters potential suitors. Only when she
embraces her femininity does she find true
Such is the
outline of Calamity Jane, which must have left
the creators of Annie Get Your Gun gasping with
amazement at the later show's chutzpah at
hitching a ride on their success.
started life as a 1953 Doris Day movie; and,
although the stage version has its moments, it
suffers from some fairly risible plotting. Much
of the first half hinges on a mistaken identity
joke by which a Chicago chanteuse's maid passes
herself off as her mistress to the Deadwood
citizens; but, such is the power of showbusiness,
that the maid, Kate, quickly blossoms into a
both Kate and Calamity are in love with the same
guy, the tomboy heroine switches her affections
to Wild Bill Hickok on the strength of a single
If the show's
story is incredible, its sexual attitudes are
antediluvian. "You dress, talk and shoot
like a man," Wild Bill tells Calamity at one
point, "but you think like a female",
implying that she is fundamentally
But behind the
show's endorsement of what Shaw once called the
"manly man" and the "womanly
woman" lurks a strange preoccupation with
transvestism. If Calamity has to be cajoled into
wearing a dress, the men in the cast can hardly
wait: thus we get a saloon drag turn, Will Bill
disguising himself as a Sioux squaw, and even a
Chicago doorman measuring himself up against the
saving graces are Sammy Fain's score and Craig
Revel Horwood's choreography. Black Hills of
Dakota, sung against the silhouette of Simon
Higlett's sierra, is particularly
And Horwood, as
he proved with My One and Only, has the capacity
to create genuinely sexy dances: a Chicago
nightclub number certainly gets the juices going
and when the Deadwood prospectors sing a hymn to
their pin-up, Adelaid, they seem literally to be
But the show's
box-office appeal rests on Toyah Willcox as
Calamity; though "rests" is hardly the
word for a performance so hyper-energetic that it
left me longing to lie down in a darkened
simply stands and delivers, as in Secret Love,
she can be effective. But for the most part she
is so busy leaping on bars and jumping
frenetically around that the show seems less a
hymn to the Wild West than to St Vitus.
were with Michael Cormick's well-sung Bill
Hickok, who finally marries Calamity but who,
given Willcox's delirious mobility, will clearly
be dead within a month.
Observer: Calamity Jane - 29th June 2003
never aimed for authenticity - think Doris Day as
a fantast tomboy in the 1953 film. Its
combination of apple-pie wholesomeness and a
fixation on cross-dressing now looks seriously
weird. Sammy Fain and Paul Francis Webster's
songs provide a line-up of melodies - 'Secret
Love', 'The Black Hills of Dakota' - that could
lift the guns-and-gingham western musical, even
in a production as ordinary as Ed Curtis's, which
has a design that looks like a garden shed, gawky
ho-down choreography, and girls prancing in
pantaloons and corsets.
is in full-blooded voice as the gunslinging Wild
Bill Hickock. Toyah Willcox makes our heroine
into a capering pixie. She jumps well, but has
she been wired for sound? It's impossible to hear
the words through the swish of herconsonants and
fixed puppet-like grin.
(On Stage): Calamity Jane - 27th June 2003
in all her hyperactive, Annie Get Your Gun-type
Wild West songfest, has Toyah Willcox, apparently
on speed, in the leading role.
It is not
entirely clear why anyone wanted to transpose the
1953 Doris Day movie to the stage, but producers
do odd things in the name of profit and they
might well be right.
The score by
Sammy Wain includes an Oscar-winning song Secret
The score helps
to deaden the feeling that this cheerful,
hard-working, perfectly adequate production
deosn't really belong on the West End stage.
fair batters you into admiring her irredeemably
perky performance as the Stagecoach driver.
She helps the
local theatre owner to import a vaudeville
performer from Chicago to Deadwood without
realising she is the actress's dresser.
The rest of the
evening is spent on sorting out this
misunderstanding and two other romanitc plots
involving Calam and Wild Bill Hickok.
He is played by
Michael Cormick, a handsome young Australian with
a lovely voice.
indexperienced cast (many who have just left
drama school), under the steady hand of Ed
Curtis, are well drilled and pleasant.
Harwood's choreography, though at first sub-Agnes
De Mille, blossoms outwatrds to remind the
audience of what was so special about his work
for My One And Only.
constantly moving, singing, dancing like an
irritating leprechaun, and expends more energy in
one evening than I have in 20 years.
started in Northampton and has been touring for a
simple wooden sets are more than serviceable,
while James Whiteside's lighting is suitably
lurid for the Black Hills Of Dakota.