Have a peek behind the scenes at the Cork Opera House panto
I think I can safely say that after 15 years living in Cork, I have been pretty much indoctrinated.
I’ve rung the Shandon Bells (I’m not sure even Cork people do that), eaten spiced beef, drunk Beamish (and the occasional Tanora), and I’m familiar with every nook and cranny of the English Market.
However, until last year, there was one Cork tradition which remained on my to-do list — the panto.
So, last year, thanks to now being in possession of some little people to bring, I attended my first panto.
And what a revelation it was — an hour-and-a-half of pure, unadulterated joy — and the kids had a blast too.
Now, here I am in a rehearsal studio off Barrack St, the nerve centre of this year’s production at the Cork Opera House — the timeless classic Beauty and the Beast.
The production involves more than 100 people and will run for 54 performances. The room is buzzing with energy and the good vibes that musical theatre runs on, with young dancers straight out of Fame mingling with the seasoned panto professionals.
I watch the cast being put through their paces for one of the show’s many dance numbers, just a glimpse of the huge amount of work and hours of intense rehearsals that go into the final product.
Director Trevor Ryan is a panto veteran, having worked on 22 shows as a director, actor and ensemble player.
He also co-wrote the show, along with Frank Mackey, who plays Nanny Potts. The title of this year’s panto was announced on the final night of last year’s run, and Ryan began work almost immediately.
“It’s a 12-month process. I went to London back in early February to look at sets and so on. We’re bringing in a huge opulent set from the UK.
“I’d be tipping away throughout the year, getting the creative team in place. We sit down in June, storyboard it, choose the characters and do auditions.
“It took us about two months to cast the show — Belle was a difficult one for us, we saw over 50 potentials.
“We settled on Holly [Ryan], who is only 19 and had just done her Leaving Cert. For someone so small, she’s got the biggest voice I’ve heard in years, she’s amazing.”
He has gone to great lengths to ensure this year’s production keeps up the high standards which people have come to expect of the Opera House panto.
“We do try to push the boundaries as much as we can each year. We’ve invested a lot of time in the make-up and prosthetics for the Beast. We’ve got a couple of flying sequences.
“Last year, we had a Winter Wonderland scene which went down a bomb so we tried to emulate that again — we have a whole carnival scene in Rio.”
These big dance numbers are a key part of the panto formula, and this year, they are in the hands of New York-trained choreographer Neil O’Brien.
While there is a core of professional dancers, the remainder are made up of teenagers and children. The selection process was a gruelling one, says O’Brien.
“We spent one day auditioning over 200 children and we ended up with a core group of 27. I slept for the whole next day.
“We’ve got a lovely bunch this year, they are very strong and the energy is great in the room. It is a professional production, you want to get the work done but they’re still kids, you have to ensure it’s fun.”
In total, O’Brien is in charge of dance routines for 54 people — 27 children, 12 intermediates, six professional dancers, the six leads and three fairies. Most of his work comes to an end once the performances start.
“The show only becomes something once the creatives leave and people get a chance to enjoy it. I love coming back a couple of weeks in and seeing how the show has changed — it’s still the same show but people’s personalities have shown through — that’s the fun of live theatre.”
Someone who is no stranger to live theatre is Holly Ryan, who although only 19 years old, has starred in many musical productions in her home city of Waterford. She is rearing to go for her biggest starring role yet.
“I can’t wait. I auditioned back in August and when I got the call a few weeks later, I was blown away. I wasn’t expecting it at all, I just went for the experience.
“Belle has always been my favourite Disney princess, so it’s a dream role for me. She is feisty but also caring and affectionate. When she meets the Beast, she isn’t afraid of him. It’s important to give girls the message that princesses aren’t airy-fairy — that’s why I’ve always loved Belle, she has the guts and the character too.”
There will be no shortage of support for Ryan when she takes to the stage at the Opera House.
“My family are coming up four or five times to see it. My stage school in Waterford (David Hennessy Stage School) are bringing more than 200 people from Waterford and Dungarvan combined.”
Belle’s father Monsieur Claude is played by Michael Grennell, who has been involved in panto in Cork since working with the renowned director Bryan Flynn, who passed away in May 2014. Flynn had close links with the Opera House, bringing his ambition and talent to bear in reinvigorating its panto productions and working on many fondly remembered shows for the venue.
“I worked with Bryan Flynn on Michael Collins and was a great admirer of his. He was doing Alice in Wonderland and I was eager to be part of that production,” says Grennell.
“He was exceptional, he had an enormous amount of talent which he wore very lightly. He was great for the Opera House and it was great for him too. It’s awful that he is gone — he was a light that burned very brightly.
“The people who worked with him are now sharing that wonderful experience. I have worked quite a lot in Cork since, I adore it, it is a special place.”
Grennell’s most recent performance was as King Lear — how does he approach panto after playing such a classic Shakespearean role?
“I approach both in the same way. As an actor, you look for what is real, what is truthful and then you try and convey that. One is dark and the subject matter is quite heavy, this is light and bright but they’re both about a man’s relationship with his daughter.
“In this instance, Belle is my Cordelia. Holly, who plays Belle is just wonderful — we clicked right away, she is quite a character. Trevor and Frank have come up with a great script and it’s peppered with lovely gags but there is also a heart to it.”
Grennell is very conscious of the emotional investment that audiences have in panto. “You have a huge responsibility because you are probably playing to people who may never have been to the theatre before.
“You have to give them a good experience because they will be your audience of the future. You’re looking at an audience from age eight to 84 — that’s a huge expanse that you have to please. It’s a challenge but a wonderful opportunity.”
meet costume designer Joan Hickson at the dress rehearsal in the Opera House.
The cast is on its second run-through of ‘Be Our Guest’, one of the show’s best-known songs. Trevor Ryan is giving notes from his desk in the middle of the auditorium and the atmosphere is focused more than frenetic.
Most of the hard work is over for Hickson, who starts her side of the process in the summer.
“I would start in July and August, I collect loads of images on Pinterest. I get inspiration from different places — historical, contemporary, Broadway, the Disney movie — and we put our own stamp on it.
“We have to start making costumes at the beginning of September. This year, we had a photoshoot on October 1, so we had a month to make all the principals’ costumes.”
The main challenge of Hickson’s job is time. “I try to start earlier and earlier and to be organised. Regardless, you’re never going to have enough time, there’s so much work involved.
“This year everything was made from scratch — probably between 150 and 200 costumes. I would be lying in bed, thinking about costumes, every little thing is considered. Last night, I was making stuff in my sleep.
“You always think this or that could be better.”
When I return to the auditorium, the cast is on its fourth run-through of ‘Be Our Guest’ but their energy isn’t flagging. It’s clear that being involved in a panto production requires plenty of persistence and passion, something Trevor Ryan clearly has in reserve.
“I love it. It’s on my mind for 12 months, I dream about it. Christmas wouldn’t be Christmas for me without doing a panto.
“Standing in the audience seeing the kids with their fluorescent wands, eating their crisps and their jellies, and all the excitement and buzz, the interaction, it’s just magical.
“Kids’ attention spans seems to diminish as technology progresses, with the internet, social media and screens.
“So, to see children as young as three years old come into a theatre, sitting down entranced by what’s on stage, is a wonderful thing.”
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