Star casting in musical theatre

Photo: Alastair Muir

“Is there anyone I’ve heard of in it?”

As a regular theatre goer (that might be an understatement), this is a question I get asked an awful lot before or after going to see pretty much any show, regardless of its genre, venue or target audience. Obviously to most people, especially those who don’t visit the theatre a great deal, a celebrity in a leading role (because when are stars ever cast in the ensemble) is a huge attraction, and can make the difference between buying a top price ticket and not going at all.

Star casting can be a brilliant thing, but only when said star is able to fulfil the role just as well as a thoroughly trained and experienced musical theatre performer. The big name advertising can have the ‘bums on seats effect’, raking in money and new audiences to see a show that they may not have previously considered seeing. However, when it is evident that a celebrity has been cast in a part purely because of their large fan base and appeal, it can be rather frustrating for both other performers, and audience members who have paid good money not to watch just one star, but to watch a piece of theatre as a whole.

Now for some examples: I saw Jason Manford play Caracatus Potts in the current UK tour of Chitty Chitty Bang Bang in February, and was very impressed with his singing, dancing, acting, and general presence and charisma in this role. And although his name possibly isn’t quite big enough to encourage hordes of new theatre goers to see the show, it definitely helps in the show’s advertising campaign. However, watching Craig Revel Horwood portray Miss Hannigan in Annie last year was a completely different story, and judging by the roars of laughter every time he appeared on stage, I’m sure that a considerable proportion of the audience were indeed there for the opportunity to see the Strictly judge in drag. And this would’ve been fine if he’d actually delivered in the role, but I failed to enjoy his performance very much at all.

Another issue with the concept is the problem of what happens when the celebrity is ill, or can’t perform for some reason. This has become particularly relevant recently due to Sheridan Smith’s lengthy absence from the West End production of Funny Girl, with audience members demanding refunds and firing abuse at her poor understudy. However, having seen Zoe Birkett, the alternate performer for Alexandra Burke in The Bodyguard, audiences are in no way being short changed if they happen to see an understudy rather than a household name. Obviously there’s going to be some inevitable disappointment, but celebrity status doesn’t necessarily correlate with being an incredible performer.

Star casting has been the topic of many a heated discussion in the theatre world as of late, and it’s definitely not an issue that’s going to disappear any time soon. As long as celebrities in musicals are making the producers money, such casting is going to continue, whether individuals are completely suited to the roles or not. Celebrities in leading theatre roles can absolutely be a good thing, but a balance needs to be achieved – and we’re definitely not there yet.

The pantomime tradition

At this time of year, regional theatres clear their usual schedules of musicals, plays, ballets and operas to make way for star studded, family orientated pantomimes. Being a tradition that has lasted for years, one may assume that the art form is wearing out or growing old, but the packed audiences of people of all ages seem to suggest otherwise. And despite the fact that there’s only a limited amount of pantomime titles (Cinderella, Dick Whittington, Peter Pan… etc), each one in each city manages to bring something new to their show.

Probably the best thing about pantomimes is the fact that they bring new audiences into theatres, including many children who may have never attended a theatre performance before. Families are more likely to be attracted to pantomimes than standard musical theatre, even though there are plenty of musicals out there which have children as their primary target audience. I like to think that going to see a pantomime could spark a lifelong love of theatre in young people, especially as my first experience of theatre was watching Peter Pan at the Theatre Royal Plymouth back in 2002 when I was 6. Although this initial visit didn’t immediately make me love all things theatre, had I not been taken along to the show, I may not have the same passion for the dramatic arts as I do today… which is a scary thought!

One of the major selling points of pantomimes is the inclusion of celebrities in the cast line up. Of course, it’s the ‘bums on seats’ tactic, and often said performers can be very talented (ventriloquist Paul Zerdin who is playing Buttons in Cinderella in Plymouth this season is incredible!), adding a lot to the show and boosting their profiles. But what about less talented stars who overshadow the talent of their classically trained, fresh out of drama school ensemble members? And what happens when a certain celebrity is ill or can’t perform for some reason? I can only imagine angry parents demanding refunds, but this seems to be a natural repercussion of a show’s ticket sales relying on the presence of a certain person, which is definitely risky.

Surely one of the aspects which singles pantos out from other forms of theatre is their use of audience participation. Most obviously this includes the yells of ‘he’s behind you’ and ‘oh yes it is’, but often the most enjoyable parts of these shows can be when adults are unwillingly dragged up on stage to partake in some hilarious routine. But it’s just as enjoyable when children enthusiastically volunteer themselves to be part of the show too – contributing to the ahh factor and undoubtedly allowing their parents to burst with pride in the safety of the auditorium.

I’ve played in pit bands for three pantos for a local amateur dramatics company, and despite being dubious about the art form at first, they were all great fun. Notable experiences from these shows include the band being asked to play ‘escaping music’ with no guidance or sheet music whatsoever, having to play The Twelve Days of Christmas from memory when it was added in half an hour before the first show, and getting my keyboard absolutely covered in streamers when a huge party popper exploded slightly askew.

The pantomime is such a unique theatre experience which continues to remain popular with people of all ages. The billing of certain celebrities in the cast definitely increases the attraction of the productions, and the anticipation of seeing these stars in real life can often intensify the audience’s excitement, and this is obviously a great thing provided that these individuals are truly talented. Pantos are a lot of fun and often introduce children (and adults) to the theatre, which, in my opinion, is one of the best things any show can do.