Family friend. Camp. The men are being dragged. As an American living in Britain, my knowledge of pantomime was quite limited when I went to the Hackney Empire to see Aladdin a few weeks ago. I walked away changed forever, feeling more British than I’d ever felt before.
After living in London for three years, this festive season felt like the right time to experience this most unique of British art forms. So to really immerse myself in the world of ladies, best boys, fairytale princes and princesses and, well, someone called Buttons, I booked not one but two pantos – first in Hackney, then at the Broadway Theater in Catford.
So Empire came first, and there was no doubt which show we were watching: When I entered the auditorium, Aladdin’s name was being shouted in gold against a large pink backdrop. Around me, families excitedly found their seats and a real sense of anticipation arose.
The panto at the Hackney Empire is one of London’s best-loved pantos and is currently directed by Clive Rowe, who also stars as the Dame (this year he played the Widow Twankey). Yet on the night I broke my panto duck, it made an unplanned appearance before the curtains closed.
He announced that the actor who played Aladdin, with his face full of make-up and his dressing gown, was too ill to continue. So is his backup. Instead, the production manager would take on this role. Ah…
But as is the mantra in British theater – and this is the most British thing in theatre – the show must go on, and somehow it did. In fact, the disruption that would kill most straight shows had just added to the glorious chaos that was beginning to unfold around me.
A large cast took the stage and immediately began singing in front of brightly colored fairy tale scenes. I was initially surprised, what was this?
I am a West End junkie and regularly attend some of the best examples of theatre, especially musicals, in this or any other country. Sitting in this auditorium in east London, Aladdin was unlike anything I had ever seen before. It was so… loose! So… weird! So… relieved! And I realized that in order to embrace the spirit, I too had to relax and go with it.
As most readers will know, panto stories are drawn from well-known fairy tales such as Cinderella, Aladdin and Jack and the Beanstalk – but the writers strengthen some characters, add different characters (normally for comic effect) and of course add a few more characters as well as extra twists and turns. truckload of jokes. Good jokes, bad jokes, dirty jokes, they were all piled up.
I was stumped as I had read the history of panto before going and it turned out the early forms were silent. Was I going to be subjected to hours of nonverbal gestures, a thought worse than pulling teeth? Fortunately, there are many words and have been since the mid-19th century. Funny, witty, sassy quotes with relatable themes and undertones of larger issues. Wow.
These off-kilter fairy tales are filled not only with humor but also social satire. Three years in London meant I learned all the jokes about economics and why south Londoners dare not live north of the river. My second panto, Jack and the Beanstalk in Catford, had consistent references to the cost of living crisis and an antagonist called Boris the Cockroach. Every time he introduced himself, the audience shouted ‘liar cockroach’.
Another difference from the West End, and what makes panto truly magical, is audience participation. Many children have their first theater experience through panto, and it’s such a warm, inclusive experience that it can inspire a lifelong love of live performance.
I had to get through the entirety of Act I of Aladdin and almost half a pint of Coca-Cola before I could become an active participant. “Boo!” I shouted and stood up from where I was sitting. The bad guy was a self-proclaimed Tottenham fan. Not on my watch.
Throughout the performance, the shouting increased throughout the house. “He’s behind you!” “Oh, no it’s not!” “Oh, yes it is!” “Boo!” “Hiss!” “I wish you were this dirty.” And by the second pantom I was totally ready. The roaring reactions of enthusiastic participants on stage bring things to life.
As I sat in the stands at Catford Broadway, I began to see common themes and tropes. Bringing someone from the audience onto the stage is a favorite; This is absolutely worth its weight in gold. As seasoned panto-goers know, the Dame is always the one to choose, and of course she tends to choose the most uncomfortable-looking man in the audience (men, you’ve been warned).
While the initial conversation is flirty, fun, and full of sexual innuendos, it doesn’t end there. I was delighted to see Dame shamelessly flirting with her victim for the rest of the show. His discomfort was comedy for everyone.
In fact, there is nothing quite like the Dame, my favorite element of panto. A man dressed like a woman whose clothes could walk the carpet at the Met Gala – yes, the Queen! Both of the Dames I saw delivered sassy one-liners and spoke flusteredly about their domestic duties with a motherly charm (Derek Elroy played Dame Dolores in Catford). They handed out candies and sometimes both of their underwear were on full display. What masters…
I was very happy that all the evil turned into good at the end of the panto. Surprisingly, I wasn’t expecting this as traditional fairy tales don’t end this way. The worst thing that can happen to a bad guy in a panto is getting cake in the face or getting doused with a water gun. The festival is suitable for a production aimed at family entertainment. The hero saves the day, of course, and the gorgeous Dame finds love – and I love that for her.
The panto may have originated in commedia dell’arte in its original form, but today’s performances evoke the quintessential British end-of-the-pier fun. Still, I think American audiences will embrace it; Some jokes may need explaining.
Even after seeing two pantos, when an American friend asked me what art was, I wasn’t sure what to tell her. It’s something to experience. It’s messy, chaotic and silly, but you’ll leave with a smile on your face and a vibrant love of British theatre.
Both Aladdin and Jack and the Beanstalk are over but there are still pantos hitting London this month