They attended last week's opening of a play based on the hugely successful film Calendar Girls, telling the tale of real-life Women's Institute members who stripped for a good cause.

They posed for a "calendar wth a difference" which brought them worldwide publicity and earned a small fortune for Leukaemia Research.

After the cast had taken their bow at the first night performance of the brand new play, the spotlight was turned on this courageous group from theYorkshire dales who had been watching from front row seats.

They joined in the standing ovation for the actresses and then had the unique and perhaps slightly weird experience of meeting their stage counterparts to whom they expressed admiration and relish for the production.

The whole project must take a great deal of nerve and bravery on the part of the acting team, too, for not only are they (shall we say) middle-aged but must also remove their clothes before a Chichester audience that used to be noted for its prudery.

However, they got a rapturous reception on press night and, to be honest, when it comes to the scene where they pose for the photographer, they are cunningly placed behind appropriate (for a WI) props such as cherry iced buns and some knitting.

So there is nothing in the least distasteful or embarrassing about it and audiences seem to be lapping it up which augurs well for the forthcoming nationwide tour that hopefully will be followed by a spell in the West End.

Hamish McColl's delightful and thoroughly entertaining production deserves a wide showcase, embracing its audience as it does with a potent blend of laughter and tears, good cheer and poignancy.

And don't be put off if you saw the movie and feel the play can offer you nothing new. It really does have a life of its own as it relates how the ladies, bored with the thought of landscape views for their annual calendar, decide to pursue the idea of something in the style of the famous Pirelli.

Patricia Hodge gives a touching and heartfelt performance as Annie, who loses her husband John to a terminal disease and, in his memory, wants to raise money to replace the worn-out settee in the relatives room at the hospital.

She is helped in her aim by her high-spirited friend Chris, a role played with heartwarming enthusiasm by the lovely Lynda Bellingham.

Together they campaign for the alternative calendar, leading to the splendid moment when Annie sells the project to the WI conference with an impassioned speech: "I want to raise money in memory of the man we loved and to do this I'm prepared to take off my clothes."

The project itself then takes off, snowballing its way to global publicity and selling so many calendars that in a short time the women have raised more than half-a-million.

The production brings together a glowing ensemble cast that includes Sian Phillips - in rare caustic form delivering some of the best lines - Brigit Forsyth, Elaine C. Smith, Gaynor Faye and Julia Hills.

Mere males don't get much of a look-in, although I enjoyed Carl Prekopp's turn as the cameraman required to accomplish mission impossible and Gary Lilburn engenders some sympathy in his brief scenes as the ailing John.

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