Sunday Express, Panto feature

DICK WHITTINGTON, FLECKNEY, LEICESTERSHIRE

Fleckney is a small village in Leicestershire with two pubs and two shops. It will shortly have a Lord Mayor however, as the basic Dick Whittington pantomime story has been adapted by local amateur theatre group the Duckpond Players to one where Dick has to go travelling the world for a year and a day before returning to Fleckney to reclaim his inheritance and become Lord Mayor.
‘There’s something really special about having a panto in a small community like this,’ says Sarah Atherton, 33 who plays Barry Botchit, one half of a comedy duo that are trying to capture Dick. Sarah is a full-time mum of three and so committed to the panto that she’s back at rehearsals 4 weeks after the birth of her last baby. ‘It brings together people in the village who might not otherwise get to know each other. The age range of our performers is from 73 to 8 and they come from all walks of life. People also like it that there are local in-jokes that they can get – for example, about the head teacher at the primary school or our parish council.’
The panto has a loyal following within the village, and sells out most of its shows. ‘Last year we won the Best Panto award in the Pantomime Alliance of Leicestershire competition,’ says Peter Henton, 57 a domestic appliances repairman who plays Bob Botchit. ‘This might be a small village but that’s no excuse for putting on something ramshackle. We set high standards when it comes to sound and lighting and want the panto to be as entertaining as we can make it.’
I talk with Peter about the uniquely British appeal of panto. ‘It’s strange when you think about it,’ he admits. ‘You’ve got men dressed as women, girls dressed as boys, corney jokes and catchphrases, and lots of audience interaction. I brought some overseas friends along and although they enjoyed it they didn’t really understand it at all. But it’s become a much-loved part of our Christmas tradition. Parents who loved going to the panto as a child now want to give their own children that experience. It’s great family entertainment.’
Police officer Steve Morely, 39 has lived in the village all his life and has personal experience of dressing as a woman. ‘I was the Dame in last year’s panto. It was weird during rehearsals, but by performance time I’d got really into it. Afterwards everyone in the village recognises you. I’ll call into the post office and someone will say, ‘You looked lovely in that dress.’ Being the Dame is a great role because you can be so over the top, bantering with hecklers and dragging members of the audience on stage for a community song. I think the audience enjoy interacting with someone they know when they’re in character as well – they’re seeing a different side to people they’re familiar with in everyday life.’
Lots of people in the drama group joined after seeing the panto. ‘Nicola Scholey, 15 who plays Samantha, Dick’s romantic interest says, ‘People in the audience feel more connected than they would to a big expensive production in a city theatre and realise they could take part themselves. Even if they’re shy, there’s still the option of doing backstage stuff like wardrobe and lighting. My whole family is involved with this panto - my dad is playing lots of small roles, my younger twin sisters are in the dance troupe and mum helps out with costumes.’
Nicola gets on stage to rehearse a scene with Fleckney-born Gordon Dainty, 73, who’s playing King of the Leprachauns and some other cast members. They all launch into a tuneful rendition of ‘We’re in the Money’ as I have a final chat with Peter. ‘Apparently Leicestershire has more amateur dramatic societies than anywhere else in the country,’ he tells me. ‘I suppose it’s partly because we’re so far away from the big cities like London and Birmingham which have major theatrical productions – it keeps us in touch with the village tradition of people making their own entertainment.’

CINDERELLA, CITADEL THEATRE, ST HELENS, MERSEYSIDE

The Citadel Theatre is tucked away in the backstreets of St Helens, Merseyside. When I visit an early rehearsal of their pantomime, Cinderella, read-throughs are in full swing.
Carmel Baines, the director obviously runs a tight ship. Everyone, children and teenagers included are sitting quietly while Buttons and Baron Hardup go through a scene full of outrageous puns and misunderstandings.
I spirit a group of the youngsters off a neighbouring room and chat to them about being involved in the panto. I’m really impressed by how enthusiastic and articulate they are.
‘It’s great,’ says Patrick Roberts, 13 who plays a milkmaid. ‘People often mess about in drama at school but here everyone really wants to do it. It’s good working alongside adults as well – it’s not like there’s the teachers and the pupils, we’re all working together. Wearing a dress and playing a girl can be embarrassing but I don’t mind because it makes the scenes funnier.’
Cinderella is played by 15 year old Hellie Cranney, who’s been taking part in the panto since she was 7. ‘I couldn’t bear not to be involved – it’s not just the performance that appeals to me, I love the rehearsal process too. You get to know people really well and I’m sure I’ve made some friends for life here. Some of the younger ones can be a bit boisterous to start off with but once the show has been cast and they’ve got parts they’re a lot more focused. Everyone wants to do a good job and shine on stage.’
I talk to Carmel during the break and she agrees. ‘Drama is great as a way of building communication skills and a sense of teamwork. I’ve heard from schools that children who’ve joined the panto have gone on to overcome behavioural problems and their general performance has improved. It gives them a sense of achievement and a group to belong to which doesn’t involve hanging round street corners making trouble.’
There are about 60 people involved in the pantomime including cast members and backstage and wardrobe staff. ‘We start off with a basic script, but during rehearsals people work on their characters and chip in with ways things could be improved or suggest local jokes,’ explains Carmel. ‘Everyone helps out with building and painting the set as well, and we’ll beg, steal and borrow to get the right props. Then we’ve got volunteers, aunties and grandparents all working away putting costumes together. Basically we’ve got an open door policy and feel everyone has got something worthwhile to contribute.’
District nurse Robert Boyle 35, plays Baron Hardup and really appreciates the inclusive feel of the panto group. ‘I’m a recovering stammerer and being on stage is something I’ve always wanted to do but I never felt confident enough. I joined the group when I first came to St Helens and it’s given me a ready-made social life. People of all ages and backgrounds mix in together and no-one gets sidelined.’
When rehearsals are over and everyone is helping pack up I ask the younger cast members why they feel pantomime still has such an appeal. ‘I think it’s because people love being able to interact rather than just sit there,’ replies Hellie. ‘You can’t shout back at the TV screen. But here you can heckle the baddies and join in with the songs. And the little ones are in awe of the way the transformations – such as Cinders changing from being in rags to her beautiful ballgown – happen in front of them. You look down from the stage and can see how their faces have lit up. Also it’s the first time many children have been to the theatre. Last year we gave a free performance for a primary school in one of the poorer areas who couldn’t have afforded to come otherwise. It was really touching how thrilled they were – they all wrote us letters afterwards saying how much they’d loved it. And you can tell that the adults are enjoying it too. Christmas is such a busy time for many people but going to the panto gives everyone the opportunity to have a break from all the stress and escape into a fairytale world for a few hours.’

BABES IN THE WOOD, PRICEWATERHOUSECOOPERS ACCOUNTANTS, LONDON

It’s Sunday afternoon and I’m watching a chorus line of accountants in Merry Men costumes high-kicking to ‘I’m a Believer’ by The Monkees. During the week they may be sober and sharp-suited, but this is a rehearsal for PricewaterhouseCooper’s annual panto, performed by a cast drawn entirely from the workforce and including accountants, IT professionals and marketing managers. It will be performed in January 2008 at the Peacock Theatre in London and then at The Royal Northern College of Music in Manchester, giving 6,500 children from inner-city schools and charities the chance to experience what will be, for many, their first ever trip to the theatre. There are also limited tickets for the paying public.

The rehearsals here are further on than the other two productions, so I settle down to watch a complete run-through of Act 1. Babes in the Wood isn’t as well known as some of the other pantos, but as it unfolds it’s clear the plot is based on the legend of Robin Hood, with the ‘Babes’ being a young brother and sister, played very convincingly by Helen Kershaw, a 27 year old leisure executive and tax manager Paula Knight, 43, whom Robin rescues from the scheming Sheriff of Nottingham. And accountant Stephen Moyneux-Webb, 25 who plays the Sheriff could certainly give Alan Rickman a run for his money for leather-trousered dastardlyness!
During a break Stephen reveals that he hadn’t done any acting before joining the panto chorus the previous year. ‘I wanted to do something other than work, study for my accountancy exams and collapse in front of the TV in the evening. Fitting in rehearsals means I’m ridiculously busy, but it’s great to have a creative focus and feel that you’re putting something back into the community as well.’
Victoria Green, 25, who’s also juggling the notoriously demanding accountancy exams with playing the lead role of Robin Hood agrees. ‘I love my job. But I also love the fact that being involved in the panto gives me the opportunity to express the dramatic, artistic side of myself and get to bond with colleagues at the same time. As the performance date draws closer there’s a real buzz throughout the firm – everyone from colleagues in my office to the ladies in the canteen is interested in how rehearsals are going. Lots of staff come to see it and are amazed by how many creative people there are in the company.’
I also grab the opportunity to chat to Nigel Haynes, a 40 year old tax manager who is playing the Dame, Nurse Jemima Jollop. He’s wearing a purple and yellow dress with a blue wig and I’m transfixed by his insanely long silver false eyelashes. So he seems the right man to ask about how the stuffy reputation of accountants can be reconciled with the over-the-top approach required by pantomime. ‘We have to exude a professional and even staid and responsible attitude in working hours,’ admits Nigel. ‘But after being constrained between 9-5 – or more likely 8-6 these days – we’re maybe even more inclined to let our hair down with a vengeance when off-duty.’
The performance started up again, and sitting with some of the stage management crew I found myself getting drawn in. Feeling sorry for the lonely ghost in the West wing of Nottingham Castle, laughing at the interplay between the amorous Dame and the reluctant Sheriff, uplifted by the chorus song and dance routines. I even joined in calling out to the good fairy who was foiling the villans’ evil plans and of course the ‘it’s behind you’s!’.
Whether it’s Liverpool, London or Leicester, there’s clearly something about the eccentric, anarchic, funny and heartwarming quality of pantomime which is locked firmly into the British psyche and still appeals to us regardless of age or background. So to anyone who might think that the competing demands of playstations, satellite TV and multi-screen cinemas means that the tradition of British pantomime is behind us there’s only one answer – ‘Oh no it isn’t!’