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.