Oh No She Didn't

I have read with interest Natasha Tripney's article for The Stage concerning the sexism that appears in pantomime. I have to say that I agree with her points for the most part although as she allows, "carping on about Christmas shows and gender politics makes me sound like I need to lighten up. But I do think these things matter." Indeed they do matter, Natasha as I believe that apart from pantomime being a youngsters introduction to theatre, it also offers an indicator as to the state of society in general.

Pantomime is a remarkably versatile medium that has evolved over the centuries and continues to change in our lifetime. Disney continues to have a major effect on British pantomimes despite various cease and desist orders. Dwarfs need to be renamed; the evil fairy Carabosse has been clumsily renamed Malevolence thanks to Ms Jolie and Cinderella is by far the most popular production this year, no doubt on the back of the movie release. There are other more subtle changes too, that are taking place.

Gender reversal has all but disappeared from the major pantomimes. The age of the thigh-slapping female principal boy has long gone and even the big shows make blunt references to the dames masculinity. Oddly, the only female principal boy I have seen this year was in Mirror, Mirror - King's Head and I thought she was rather good. Personally I've never subscribed to the idea that 'it will confuse the kids' if a girl plays a boy. Kids aren't stupid I don't expect for a moment that they imagine they are watching anything other than fantasy theatre. 

Natasha refers to Eric Potts' poor treatment of the female characters in his Peter Pan at Wimbledon. Is it lazy writing? Probably, especially when you begin to breakdown the structure of these big, 'mechanical pantomimes'.  They usually run at about 2 and a half hours including the interval. That's about 1hr 45mins of script when you have taken off the interval, song-sheet, call-outs and walk-down. Remove at least 30mins to account for regular routines - slop, ghost, 12 days of sodding Xmas, whatever - you are left with about 1hr 15mins of plot, including the song and dance numbers.

In fairness to Potts, who understandably responds on the defensive, the audience are indeed entertained by his work, but that probably says more about the audience than Potts as a writer. Over at the Theatre Royal Stratford East, they maintain a consistently diverse agenda for their excellent pantomimes but again this year, the hero is tidily put in his place by a much more sensible heroine. Is this sexism too? Will the children of Stratford grow to imagine that men are inherently flawed and need the guiding hand of a woman to put them on the right track. It's unlikely, but just as unlikely as any child seeing Potts' Wendy as a serious role model.

This year, I will have seen about 25 Christmas shows - a personal record. I enjoy the medium and am constantly amazed at its possibilities. I see the scope of work being produced from the largest arena production to the tiniest pub theatre. I've cried at the resolution of The Snow Queen in Northampton and thrilled at the breath-taking talent on show in Basildon. I've also despaired as five blokes corpse on stage over a knob gag while Cinderella is locked in the wardrobe and inwardly groaned at yet another recorded soundtrack.

It is the best of times, it is the worst of times. It is subject to budget, subject to talent and subject to taste but it should never be taken seriously as educational - except perhaps by other theatre creatives who seriously need to get out there and see what else is being done.

The Ghost Of Christmas Past

Well I've been tearing around with the usual Christmas madness and this year my Christmas shows have bumped up to 24! Probably a record and definitely an indictment to the excellent coverage The Stage give to theatres at this time of year. I've had some surprises - good and bad - and already I've been lucky enough to visit several theatres that are new to me. 

Tonight, I am visiting the Pleasance in Islington. I am no stranger to the venue and in fact, it was several (probably about 10) Christmas' ago that I first worked with Russell Labey there. Russell was directing Aladdin and appearing as Widow Twankey and I designed the make-up for the show. Since then, I have realised that in fact, Russell's musical version of Whistle Down The Wind premiered at the theatre I was managing in Gloucester. The theatre has long since gone but thankfully the musical was revived last year at the Union and - in my humble opinion - works so much better than Andrew Lloyd Webber's version. 

Tonight, I am at the Pleasance to review Nutcracker! The Musical but upon entering the venue I shall always think fondly of my Christmas there, laying on the slap and watching Anthony Alderson and his kids try and figure out how to make the magic carpet fly.  

All Change

Just when you imagined that you had everything sorted out with your work diary, the whole thing takes a tumble. On the plus side, the changes I had to make to my Christmas line up now feature two major shows including Oliver! at the Curve in Leicester and Funny Girl at the Menier Chococlate Factory - that latter having been sold-out within hours of being announced. So, thanks to Peter Bull and the team at Above The Stag for accommodating my reviewing mayhem, I shall sadly not be in Vauxhall on Wednesday night but in Southwark, watching Sheridan Smith's Fanny. Tinderella is itself sold out before Christmas but Peter has given me a house seat for Sunday, so that I can review the show then. As for today, I am hurtling toward Leicester as I type, to catch Peter Polycarpou's Fagin. Thankfully I still managed a swim before I left London!