From the rollicking celebration of The Deadwood Stage through the wistful Black Hills of Dakota to the lilting Secret Love, the Oxford Operatic Society sing and dance their way through their latest production, Calamity Jane, at the Oxford Playhouse this week with great assurance and obvious enjoyment, writes Paula Clifford.

Under the direction of Jan Russell, this is a colourful and fast-moving production, with principals and chorus performing to the very high standard which Oxford audiences have come to expect of the Operatic over the years.

This production, though, is particularly fortunate in having in the title role a new recruit to the society, Jo Mills. As Calamity, Jo is hardly ever off stage, and her energetic presence and fine singing voice must be a major factor in the show's success.

Just as we've got used to her loud brashness, her masculine clothes and a ready willingness with the gun, she takes our breath away in the gently moving tones of "Once I had a secret love", which caused not a few of the first night audience to reach for their tissues.

Another newcomer, Richard Talbott, takes the role of Calamity's eventual suitor, Wild Bill Hickock. He too has a great voice and he and Jo Mills make a dynamic and compelling partnership.

They are well supported by Sally Chase and Anthony Gibson, as the young singer Katie and her lieutenant admirer. With her considerable dancing skills and her sweet soprano voice Sally is a natural for stage musicals and gives us a Katie who is an excellent counterpart to the boisterous Calamity.

The large and beautifully dressed chorus, although at times seeming to stretch the capacity of the Playhouse stage almost to its limits, has a crucial role in the smooth running of the show.

In addition there are some neat cameos, notably from Charlie Ross as Henry Miller, the local entrepreneur whose attempts to attract big names to his small town theatre are nearly disastrous, and John Wilkes as Francis Fryer, the song and dance man whom Miller mistakes for a female Frances, with predictably awful consequences.

The scene is completed by four competent, if slightly self-conscious, can-can dancers who grace The Golden Garter in Deadwood City where much of the action is set.

Musical Director David Hebden and choreographer June Chapman must also take some of the credit for this enjoyable production, which will no doubt continue to pull in the crowds during the week and send them out humming into the night.