Old-fashioned?
After all, it’s what their parents did back in the old days when there was no instant messaging or any of the technological wizardry that today’s children take for granted. But pantomime is an enduring tradition and today’s stage producers are all too aware of the competing demands for children’s attention. Special effects are par for the course. But respect for the pantomime tradition remains even if it sometimes seems to get lost amid the sophistication of the mind-blowing stage effects.
We talk to the key people behind four top pantos this season about finding the right balance between engaging storyline and compelling special effects.
Bryan Flynn, who is directing Cinderella for the Cork Opera House (December 13-January 14), says the story of the poor cinders girl who gets to go to the ball is timeless and needs no embellishment.
“I don’t like to mess around with. It’s a classic fairy story which needs to be told in all its glory. But panto these days isn’t just for children. You’ve got to entertain whole families. The music we use is important. Years ago, traditional Disney songs would have been used. Now, you have to use music that will relate to the kids in the audience and the teenagers as well as throwing in some stuff for the adults.”
Popular cultural references are important, too. TV3’s Paul Byrne will appear as the roving reporter in search of the glass slipper. “You have to use the language of kids — our Cinderella has a Facebook page and Buttons sends tweets,” says Flynn.
The director stresses the importance of visuals. “You have to give people bang for their buck. When they’re paying for tickets with hard-earned cash, they need to be wowed in terms of costumes, scenery and lighting.”
One of the special effects this year is a flying horse sequence. “It’s a mechanical horse built by the crew at the Opera House. Traditionally, Cinderella went to the ball in a carriage. We’ve developed an animated horse which lifts off and gives the impression of Cinderella flying into the night.
“We’ve got to keep pushing the boundaries. You can’t just give audiences slapstick comedy. They want quickfire, exciting theatre.”
Catherine Mahon-Buckley has been directing Cork’s Everyman Palace Theatre’s pantomime for 20 years. This year’s pantomime is Beauty and the Beast (December 10-January 9). She is very conscious of children’s short attention span but continues to deliver traditional pantomimes every year that include the much loved dame, Jim Mulcahy.
“We may live in the age of technology but we’re still human beings. Today’s child has the same feelings we’ve all had. Pantomime allows the child to explore and work out a story in an emotional way.
“I’ve seen pantos with much bigger budgets than mine. But you can have all the special effects in the world but they won’t work unless you give children what is true for them. The best part of panto has to be the interaction of the actors with the children in the audience. It almost makes the children feel that they’re guiding where the story is going. They believe that they’ve created the happy-ever-after ending.”
Mahon-Buckley goes to pantomimes all over the country. She has noted smutty jokes in some of them, trying to appeal to the adults in the audience. “I find that very distasteful. Adults don’t need to hear smut to enjoy themselves and it sends out the wrong message to children. I’m a great believer in what I call a family show.”
The cast of includes Cork soprano, Mary Hegarty, who plays the good fairy.
For the second year in a row, Jedward are the stars of the Olympia Theatre’s pantomime. Jedward and the Beanstalk (December 21-January 8) will see the popular Grimes twins effectively playing the role of Jack. Jedward are Jack’s brothers who left home to seek fame and fortune. When Jack and his impoverished mother need help, Jedward come to the rescue and climb the beanstalk to collect the golden egg.
“I know people knock pantomime and say kids aren’t interested in it anymore,” says producer, Stuart O’Connor. “But I disagree. I think they are interested. For many of the kids, the visit to the panto is their first time in a theatre. They get something from it that they won’t get anywhere else. I still think there’s room for live entertainment.”
The giant in this pantomime is about 15 feet high, operated by an actor on stilts with the help of remote control. The beanstalk is spectacular, says O’Connor. “We are liaising with a company for the hydraulics to make the beanstalk grow. We have the kind of pyrotechnics that you see on The X Factor.”
O’Connor says that pantomimes often use backing tracks. “We use full live bands. It’s a huge expense but the kids love it.” The budget for the pantomime is over €400,000, but that doesn’t include marketing and publicity.
Audiences go “completely berserk” when they see Jedward, he says. “The two lads are absolutely fantastic. They’re two of the hardest working fellows you’ll ever meet. They’re very hands-on and want to be involved in everything from the costumes to choosing the music.”
Traditional values with contemporary elements is how John Costigan, producer of the Gaiety Theatre’s pantomime, describes this year’s show, Robinson Crusoe and the Caribbean Pirates (December 4-January 29). It stars Samantha Mumba as Girl Friday.
“It’s loosely based on the novel with a Johnny Deppesque aspect to it, borrowed from the film series, Pirates of the Caribbean.”
Costigan says he likes to keep the special effects under wraps and won’t disclose what his budget — the biggest in the country — of over €1m creates. “There are several special effects. All I’ll say is that there is some specialist flying in the show as well as ultraviolet light. Despite the recessionary times, the one thing we haven’t compromised on is standards. People come from all over the country to see the Gaiety panto.”
With tickets starting at €27.50, it must be an expensive night out? “This is the third or fourth year that I haven’t increased ticket prices. We’re not noticing any price resistance and we have special offers,” says Costigan.
Striking the balance for adults as well as children can be tricky. “There has to be humour for the adults as well as slapstick humour for the kids. I try to keep the show moving along quickly enough so the kids won’t get bored. Our panto is aimed at five to 11-year-olds but teenagers often come along as part of family groups.”
There are seven principal actors, a number of pirates, female dancers and dancers from the Billy Barrie Stage School. “We also have about 10 little girls, our babes.”
Costigan is proud to be part of a tradition that stretches back to 1874 when the Gaiety first started producing pantomimes. Maureen Potter was an annual fixture there every year from 1939 to 1984.
Pantomime has come a long way but despite the pyrotechnics and the pizzazz, traditional elements are still important.
* Ray D’Arcy will play a cameo role in a special preview at the Gaiety in aid of the National Children’s Hospital on December 4 at 6.30pm. Tickets are €20; panto@thenationalchildrenshospital.ie or 01-4142375
CONNECT WITH US TODAY
Be the first to know the latest news and updates
