LOVE it or hate it – oh yes you do! – the pantomime is a highlight memory maker at Christmas. Families flock to watch this festive phenomenon – often being a child’s first experience of live theatre. At the beginning of December, I joined this happy faction, finally qualifying to legitimately attend with Marley, my ‘of age’ five-year-old son in tow.
Ayr’s Gaiety Theatre production of Sleeping Beauty was my chosen weapon, and Marley, a ruthless critique was armed with ice cream, sweeties, and Christmas jumper, unaware of what he was about to witness.
As I delved into the beautifully presented programme I began to speculate if fresh new work could maintain the valued traditions, formats, and approach of its ancestry. Twentieth century giants of comedy including Stanley Baxter, Harry Lauder, Chic Murray and Rikki Fulton were all advocates contributing to the Scottish personification; but where did ‘it’s behind you!’ originate from?
Pantomime dates to 16th century improvised entertainment known as commedia dell ’arte (translated as the comedy of professional artists). This specialist open-air Italian art form included dance, music, tumbling, and acrobatics performed by travelling theatre troupes. Exaggerated characterisations utilised masks, stylised costumes, unusual postures, and stage effects to relate stories based around popular subjects of the day including politics, Greek mythology, and Roman comedies.
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The actor John Rich introduced a Harlequin-type character to London audiences utilising dance, acrobatics, and mime in a comic fashion and later initiated the use of live animals into the performances.
Of course, men had been playing women roles in theatre since Shakespeare’s time, but the boisterous, loud heroine with costumes to match was a development originated by Joseph Grimaldi (1778-1837).
He introduced a recognisable precursor of the pantomime dame, with his performances of Mother Goose and Dick Whittington’s mother, roles of which he became associated with for many years. The part has developed over hundreds of years and is very much a specialised art form in its delivery.
Danny La Rue’s career was built on the pantomime dame, and it could be said similarly of Dame Edna Everidge (albeit outside of pantomime). Popular actors are unashamedly typecast, developing Scottish traits into the manifestation. Stanley Baxter was a regular dame at the Theatre Royal and was partly responsible for introducing the Scottish psyche. Barrie Hunter has played the dame at Perth Theatre for over 10 years, expertly demonstrating how to slip between fourth wall breaking, and being part of the fantasy pantomime world.
Drury Lane Theatre, London, is attributed with the iconic productions of pantomime that we now associate with. David Garrick, actor/manager introduced dialogue into the original mime and music-based formats with new storylines such as Robinson Crusoe and Jack and the Beanstalk.
It was Drury Lane that introduced and popularised the traditional elements of lavish stage effects and costumes. The animal – such as Daisy the Cow and Dobbin the horse – became a two-human creation at the London coliseum in 1923 and continues to make rare appearances in more traditional pantomimes today.
It is not unfamiliar to see other famous double acts dominate pantomime, returning year upon year as crowd pleasers. The Krankies have made a lifetime career in pantomime throughout the UK working with stars such as John Barrowman, David Hasselhoff, Anita Dobson, and Christopher Biggins.
The original spectacles of the Drury Lane format added 21st century star appeal as a major selling point. Edinburgh King's Theatre saw the resident partnerships of the late, great, Andy Gray and Grant Stott taking the roles of the idiot and the villain, original characters taken from the 17th century format. Year upon year the pantomime changes its theme and story, but the characters and resident familiar faces stay the same because familiarity draws in the audience.
Pantomime is partly responsible for the technical development of theatre, introducing new concepts including gas lighting, the introduction of trap doors and elaborate mechanical sets, all of which were concepts taken on board by traditional theatre.
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The popular music hall production was a relative of the Christmas pantomime, often seeing the same thespians appear as similar outlandish characters, but out of season. The drag show became a home for professional dames, evolving into a work of art now seen regularly in the form of popular television programmes such as RuPaul’s Drag Race.
But what of the future? Already we are seeing the emergence of a new style of production developed from the child-based formats often accompanied by adult innuendo. Traditional terminology is changing, making a move away from stereotype-based roots.
New productions do not lose the fun of the concept but work to eradicate the sometimes incorrect terminology that has innocently crept into the historical development of the productions.
The Tron Theatre, Glasgow is well known for its modern day take on the panto including its production of Johnny McKnight’s Mammy Goose featuring a same sex storyline followed by Cinderella in 2019 with an all-women cast and this year we see the production of The Wizard of Oz featuring a drag version of Dorothy.
Of course, not all theatres will follow the Tron’s example of experimentation with the traditional art form – pantomime is often a company’s yearly ‘bread and butter’ and after a few years of Covid closures many companies will be looking forward to the first big money earner for a few years and will be understandably concerned about changing a trusted format. There is a place for all shapes and sizes of Christmas productions.
Ayr Gaiety’s production of Sleeping Beauty left Marley enthralled for its two-hour spectacle. Conventional in format but cleverly ‘Scottified’ and modernised by Ken Boyle and Fraser Alexander. It also kept me amused with some clever material, stunning sets and outstanding performances.
After many years outside of the pantomime world, it was wonderful to return and share that first theatrical experience with my son, and mark the beginning of Christmas.
Dr Stephen Langston is senior lecturer and programme leader for performance at the University of the West of Scotland
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