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.
that musical theatre nerd 