By guest writer Anastasia Glagoleva.
A few days ago, I experienced my first-ever panto in Britain, and I must say, it was a truly unique and enchanting experience! For context: I have recently relocated to the UK from Eastern Europe, but in the past ten years, I visited my favourite country as a tourist and attended over 500 shows in London and beyond. Musicals, dramas, immersive performances – you name it. However, a panto was never in the mix!
To be honest, I approached the idea of attending something labelled as a panto with a bit of trepidation, given my lingering memories of "Christmas shows" in my homeland. Typically, our stereotypical holiday performances are poorly rehearsed, with the actor supposed to be Father Frost often getting drunk and mixing up his lines. The Snow Maiden, supposedly his granddaughter, might wear an inappropriate mini-skirt and flirt with everyone. The children, in an attempt to receive presents, awkwardly recite poems, leading to tears and chaos. Sometimes, there are no men to play Father Frost, so female school teachers attempt a deeper voice and dress as males.
My preconceived notion of UK pantos: modernised fairy tales with certain "rules", such as men portraying female characters. The reality: similar to my expectations, but with a nuanced touch. Like cooking, creating a panto is akin to making a stew or soup – it depends on the recipe and cooking skills. Pantos, it seems, possess some "secret herbs" in their ingredients, blending silliness, songs, and magic.
For me, the enchantment began upon entering the auditorium. Stepping into the beautifully adorned theatre with glass slipper projections, the holiday atmosphere was immediately palpable. The stage design was a spectacle in itself, seamlessly transforming between the streets of Wimbledon, the magical ballroom, and the Enchanted Forest. Bonus points for the breathtaking flying coach! The costumes, vibrant, impressive, and incredibly glittery, were a visual treat.
Panto rules I deduced or heard of later:
Mentioning the location of the show, with a lovely opening song about Wimbledon, adds a charming local touch.
Breaking the fourth wall, with the cast actively engaging the audience, created a lively and communal experience when children and adults alike were encouraged to shout, cheer, and boo. Some of the lines were known to me from Peter Pan Goes Wrong, although it’s not a panto (oh yes, it is!), and some were very nice impromptu interactions.
Magic, brilliantly delivered by Buttons (Pete Firman), provides moments of giggles and wonder. I had no idea how the magic tricks were done, so they were making me giggle like a happy baby. Loved the character Firman played but was kind of surprised that Buttons does not get a proper character arc with him finding another true love, or deciding he is not into dating or anything. He is just left friendzoned and that’s it. Where’s the happy ending for Cinderella’s friend?
Male performers play female characters, with Craig Revel Horwood as the standout Evil Stepmother aka Baroness Demonica Hardup is the biggest and brightest star of the show. Baroness sang my favourite song! Sadly, I could not quite catch all the lyrics in this version of Don’t Stop Me Now, but I enjoyed the sass and sarcasm.
The inclusion of musical theatre professionals like Cassie Compton, who embodied Cinderella with flawless innocence and kindness, added to the lively atmosphere Loved her duet with Solomon Davy as Prince Charming (lately turned into the trio when Buttons appeared) on the wall, as it was the most unexpectedly staged scene! The chemistry among the cast members was evident, creating a lively and engaging atmosphere that resonated with the audience.
Songs written for the show plus remakes or remixes of popular hits, tailored to the occasion. Alison Jiear as Fairy Godmother showcased impressive vocals, while remakes of popular hits tailored to the occasion added contemporary humour, creating a musical extravaganza that had everyone tapping their feet. And all the “Strictly”-related jokes seemed to be getting the warmest reaction.
Special effects, including multiple costume changes and magical transformations, were executed seamlessly. The Cinderella's ballroom gown reveal in Act I and her stunning dress in Act II were standout moments, along with the Stepmother's exquisite dresses and the magical flying coach.
The longest singing-dancing number, "If I Was Not At Hardup Hall," was both challenging and humorous, proving to be a special highlight. I’ve been told, that’s the first thing actors have to rehearse as it’s the most challenging one. And probably the funniest (although nothing beats the scene on a wall for me).
The Good vs the Evil sides. I noticed that the fairy godmother's entrance happened on one side of the stage and I thought that’s just done for the stage manager’s reasons. But that’s the rule: one side for all of the good characters to appear from and the other – for all of the baddies.
Children’s participation. There was a moment when four kids from the audience were invited on stage. And ouch – some of the things Buttons kept telling them were harsh! I was surprised the kids didn’t cry but explained to myself that these were British kids, so they knew how to stiff upper lip and everything. But apparently, these are not just randomly picked kids but the ones trained at the theatre studio. That was very relieving to find out, as I was already imagining the amount of money they’d have to spend on therapy after that day.
In conclusion, all the magical elements worked their charm on me. Pantos, I discovered, hold a special allure for both children and adults. Cinderella Panto at the New Wimbledon Theatre was a magical experience that captured the essence of the holiday season. With its stellar cast, captivating set design, and interactive nature, this production is a fantastic choice for families and theatre enthusiasts alike. I left the theatre with a heart full of joy, making it an enchanting evening that I would highly recommend to others.