History of Pantomime
Old English Pantomime
Liverpool's Pavilion Theatre Christmas pantomime poster from 1939
History Of Pantomime
The word pantomime in Britain means a form of entertainment, which is generally performed during the festive season. The majority of cities and towns throughout Britain have some form of pantomime during the festive period. The origins of British Pantomimes or ‘Panto's for short can be traced back to the middle Ages, taking onboard the traditions of the Italian ‘Commedia Dell' Arte, the Italian night scenes and British music halls to produce intrinsic art form that has constantly been adapted that has helped this great festive institution survive for so long.
Panto's are not just a British tradition. Pantomimes have been proved popular in Australia, Canada, and South Africa - recently a ‘Babes In The woods' production in Harare, Zimbabwe's Rainbow Seven Arts Theatre. In 1868, a production of ‘Humpty Dumpty' ran over 1,200 performances at New York's Olympic Theatre, it was the most successful pantomime in America's history.
Sir Ian McKellen starring as 'Widow Twankey' in Aladdin
The Subjects
Today's panto's are mainly aimed at children, and are normally based on a children's folk legend or fairytale. The most popular subjects for panto's are ‘Cinderella' followed ‘Aladdin', ‘Dick Whittington', and ‘Snow White'. Other popular pantomime titles are 'Jack and The Beanstalk', ‘Babes In The Woods' (normally combined with ‘Robin Hood') and ‘Sleeping Beauty'. ‘Peter Pan' is starting to rise in popularity, although some purists might argue that this is not strictly a pantomime, but a children's story based on J. M. Barrie's play. ‘Peter Pan' was first performed in 1904 at London's Duke of York's Theatre, and was later transferred very successfully to America. In the 21st century, ‘Peter Pan' has all of the elements that any panto requires, and is one of the most highly popular Christmas shows around Britain.
Pantomimes within Britain are a thriving business. The large theatres compete with each other every year to get ‘star' names so that they will have full houses. Panto's usually run for 6 to 8 weeks, which gives the box offices up an down the country, some much needed revenue. 20-years ago, panto's would open a week before Christmas and run all the way through till February, today the majority of theatres could not sustain such a lengthy run. However, Birmingham's Hippodrome Theatre; Southampton's Mayflower Theatre and Wolverhampton's The Grand Theatre are all exceptions.
Augustus Harris ‘Father of Modern Pantomime’
The Impresarios
Such pantomime giants as E & B productions, can present up to at least 30 pantomime productions in Britain alone and several others abroad too. During its history, pantomimes have witnessed other pantomime impresarios, such as Augustus Harris ‘Father of Modern Pantomime' performing in 1870 at London's Dury Lane Theatre. Harris, was the manager of Dury Lane's and the first to introduce stars of popular music hall into his productions, creating lavish productions that popularised the genre, forcing managements not just in London, but all over Britain to ensure that every town had at least one or two pantomime's running every Christmas.
In 1930 Francis Laidler took on the mantle of ‘King of Pantomimes' by producing shows at Bradford's Alhamba Theatre, which were then presented all over Britain. The subjects on offer during the 1930s and 1940s now include those that are longer popular. Such titles as ‘Little Red Riding Hood', ‘Humpty Dumpty', and ‘Goody Two Shows' have all but vanished; recent times have since the gradual disappearance of such programmes as ‘Mother Goose', ‘Puss In Boots', and ‘Robinson Crusoe'. During the 1950s and 1960s, the Pantomime Crown fell to Derek Salberg, who created productions for Birmingham's Alexandra Theatre in a style and tradition that made them justifiably famous.
In today's society the cost of a pantomime production has been estimated to cost anything between £150,000 to anything over half a million pounds. Just think the cost of pantomimes that were held in London's Covent Garden and Dury Lane many centuries ago cost no more than £1,000.
Traditions
Throughout its existence pantomimes have combined many elements of the theatre into its productions and by adaption have survived. ‘Novelty' has always been the forerunner within pantomimes, as its ability to encompass modern trends and topicality, within a structured framework. Some people in society will talk about the ‘traditional' pantomime; but to retain their popularity this form of entertainment in the theatre has also had to keep a firm eye on modern trends within society, and by weaving all of these formats into their productions, have kept it one of the most popular forms of entertainment in Britain.
Elements that pantomimes still have tradition are -
They start with a strong story line. The fairy tale or fable must be told well, by incorporating all the important elements of good battling against evil, and coming through triumphant. However, the concept can vary a little from the medieval morality plays, performed on the local village green.
In today's tradition, the pantomime villain will always be the first to enter, from the left side of the stage ‘dark side' followed by the adversary good fairy entering from the right side of the stage. This echoes the tradition of medieval times when then entrances to heaven and hell were placed on these sides.
Pantomime Plots
Pantomime plots are very easy and simple -
- A Girl will dress up as a boy
- Who is usually the son
- of a man who is dressed up as a woman
- who will always win the other girl (and surprisingly dresses as a girl)
- with the help of a person(s) dressed in animal skins.
Regardless of where the pantomime is set (Chine, Never-Never-Land or the City of London) it will contain all the aspects needed for a pantomime.
'Baddies' and 'Goodies'
In every panto production their will be a 'Demon King' (normally the baddie) and a 'Fairy Queen' (always the Goody) although their exact title and guise may vary. From Old King Rat to Modern Fairy Liquid; Peter Pan and Hook; all their names vary according to the location of the panto and topicality of the production. However, certain stage directions throughout the centuries still exist even in today's panto are still going strong. The 'baddies' will always come onto the stage from the stages left; this tradition goes back to the mystery plays and they very few working star traps, through which the baddie would be projected onto the stage through a puff of smoke, will always be found in the down stage left position. All pantomime stories require the PRINCIPLE BADDIE that makes all the innocent characters lives a misery, from the start. However, by the end of the show, all the baddies and their main henchman will either have been destroyed or will have seen the errors of their ways and will be reformed characters.
PRINCIPAL BOY
Although a 'PRINCIPAL BOY' is usually played by a female, even though it is the role of a boy hero. The woman playing the @principal Boy' will normally wear a short dress, tight fitting skirt (the shorter and tighter the better) accompanied by knee high leather boots and fishnet tights.
'The Principal Girl'
Always played by the prettiest female in the Panto's cast, and traditionally portrayed as the epitome of innocence and youth. And will always end up 'living happily ever after' with the principal boy.
The Dame
The Dame is traditionally a principal boy part. The dame is normally dressed in outrageous costumes.
The History of Pantomime
THE BEGINNING
The origins of British Pantomime or "Panto" as it is known in the UK, probably date back to the middle ages, and blend the traditions of the Italian "Commedia dell’ Arte, and the British Music hall to produce the art form that is Pantomime. "Commedia dell’ Arte was a type of travelling street entertainment which came from Italy in the 16th century. Commedia was a very physical type of theatre that used dance, music, tumbling, acrobatics and buffoonery. Commedia dell'art troupes had a repertoire of stories that they performed in fairgrounds and market places. Often the touring troupes were made up of family members who would inherit their characters, costumes, masks and stories from their parents or grandparents. The actors generally improvised their way through a plot involving characters such as Arlecchino, or Harlequin and his true love, Columbina or Columbine. Other stock characters were the over protective father, Pantaloon, who refused to allow the heroic Harlequin to seek his daughter’s affections. In some versions Pantaloon has a servant, Pulchinello, later to be known as Clown, and a soldier, an unsuitable suitor who seeks the hand of Columbine. Comic chases and tricks were employed to full effect. Although the character of "Pulchinello" has vanished from the Pantomime today, he still exists in this country as "Mr. Punch", the anti-heroic puppet, who along with his wife Judy can still be seen in seaside towns and parks entertaining children today. Commedia spread across Europe from Italy to France and by the middle of the 17th century began to be popular in England. The Commedia dell’art characters first began to appear in English plays around 1660. And such was the success of Commedia in England that intense rivalry soon sprang up between the theatres producing it. Within two days of a new performance opening at Lincoln's Inn Fields Theatre in 1716, a show with an almost identical title opened at the Theatre Royal in Drury Lane. That was the first tenuous beginning of English pantomime. And now this peculiar form of entertainment is as much a part of Britain’s heritage as roast beef and Yorkshire pudding, Buckingham palace and the tower of London, warm beer and cricket. Most towns and cities throughout the UK play host to a production of pantomime around the Christmas period. And they are performed in venues, ranging from the top theatres in the land, to local village halls and community centres. And whether it is a lavish professional performance, or a local amateur dramatic production, all are well attended. Modern pantomimes are predominantly aimed at children, and are nearly always based on well-known children's stories, such as popular fairy tales or folk legends. The most popular subjects are "Cinderella", "Aladdin", "Dick Whittington" and "Snow White". Other popular titles include "Jack & the Beanstalk", "Sleeping Beauty", "Babes in the Wood" [usually combining the legend of Robin Hood] and "Peter Pan". Pantomime is a thriving business in the UK. And large theatres vie with each other for "star" names that will attract full houses, providing much needed revenue for box offices throughout the country.
THE PLOT
The plot is very simple: The girl dressed as a boy who is the son of a man dressed as a woman, will win the other girl (surprisingly dressed as a girl), with the assistance of a person(s) dressed in an animal skin. Try explaining that to an American, German or someone from the Far East. Whether the show is set in China, the Never-Never-Land or the City of London it will contain all the aspects regarded as necessary to a pantomime.
'GOODIES' AND 'BADDIES'
The fairy Queen and the Demon King appear in all pantos, although their exact guise and title may differ. From Old King Rat to modern Fairy Liquid, Peter Pan and Hook, names vary according to the location and topicality of shows, but certain stage directions nearly always hold strong. Good enters from stage right and Evil from stage left. This tradition of Evil entering from the sinister side goes back to the mystery plays and the few working star traps [through which the demon used to be projected in a puff of smoke] can always be found in the down stage left position. This tradition seems to echo medieval times, when the entrances to heaven and hell were placed on these sides. Tradition also dictates that the villain should be the first to enter, followed by his adversary the good fairy. The story nearly always revolves around the tried and tested formula of good conquering evil. And requires the principal baddie to make all the innocent characters lives a misery, from the beginning. But by the end of the show, all the baddies and their henchmen will have either been destroyed, or be made to see they error of their ways and turn into reformed characters.
THE 'PRINCIPAL BOY'
The other element of "Traditional" pantomime is the "Principal boy" role [played by a female] although the role is that of a boy hero. The female playing the principal boy usually dresses in short, tight fitting skirts [the shorter and tighter the better] accompanied by knee-high leather boots and fishnet stockings. This provided a marvellous opportunity, in ages past when female attire went down to the ankles, to display a shapely pair of limbs and to increase the male audience. It was very common in both Regency and Victorian extravaganzas, both of which played a part in the shaping of pantomime, for women to play, more or less, any male role that they fancied. The Hamlets and the Romeo’s have been well documented, but it is not so commonly known that in the 19th century women appeared as Falstaff, Richard III, Protruchio, Shylock, and Don Giovanni. The musical male impersonator, so dear to the heart of all Victorian men who love to see a strapping girl in a pair of trousers, was a totally separate phenomenon and enjoyed a brief vogue. This has since lost all popular appeal to a modern day audience. The principal boy lives on as the sole survivor of the male impersonator in the theatre and even beat off the challenge of the swinging sixties. Norman Wisdom took the name part in "Aladdin" at The London Palladium in 1946/7 and was followed in the next decade or so by a wave of popstars. It was left to Cilla Black to reclaim the tights and boots in 1971, since which time the principal boy role has generally remained in the hands [or legs] of the ladies.
The other element of "Traditional" pantomime is the "Principal boy" role [played by a female] although the role is that of a boy hero. The female playing the principal boy usually dresses in short, tight fitting skirts [the shorter and tighter the better] accompanied by knee-high leather boots and fishnet stockings. This provided a marvellous opportunity, in ages past when female attire went down to the ankles, to display a shapely pair of limbs and to increase the male audience. It was very common in both Regency and Victorian extravaganzas, both of which played a part in the shaping of pantomime, for women to play, more or less, any male role that they fancied. The Hamlets and the Romeo’s have been well documented, but it is not so commonly known that in the 19th century women appeared as Falstaff, Richard III, Protruchio, Shylock, and Don Giovanni. The musical male impersonator, so dear to the heart of all Victorian men who love to see a strapping girl in a pair of trousers, was a totally separate phenomenon and enjoyed a brief vogue. This has since lost all popular appeal to a modern day audience. The principal boy lives on as the sole survivor of the male impersonator in the theatre and even beat off the challenge of the swinging sixties. Norman Wisdom took the name part in "Aladdin" at The London Palladium in 1946/7 and was followed in the next decade or so by a wave of popstars. It was left to Cilla Black to reclaim the tights and boots in 1971, since which time the principal boy role has generally remained in the hands [or legs] of the ladies.
THE 'PRINCIPAL GIRL'
Nearly always played by the prettiest female in the cast, and is traditionally portrayed as the epitome of youth and innocence. Although in more modern times has begun to be portrayed as a more feisty character, and less as the pathetic and helpless female of yesteryear. She will usually be called upon to sing a solo. And always ends up "living happily ever after" with the Principal Boy.
THE 'DAME'
The principal boy part was one well-established theatrical convention; an even older one was that of men playing female roles. After women moved onto the stage at the time of the Restoration, a tradition still remained of men playing some comic female roles. A million miles away from the drag act, the Dame is a study in female eccentricity. George Lacy is said to have started the tradition in 1923 of the Dame changing her costume constantly and indeed, prior to that time, costume changes were rare. The Dame's entrances are also more extravagant and exaggerated than any other character. Always played by a male member of the cast, dressed in drag; this character is usually portrayed as oldish, unattractive and fairly common, all qualities which she believes she is the exact opposite of! She befriends the two principals early in the story and is usually instrumental in all the good acts they perform in the course of the story; and quite often ends up "living happily ever after" either with the Principal Girl's kindly old widowed Father/Uncle/Guardian or with the ultimately-reformed Principal Baddie. The pantomime dame character emerged from out of the Victorian Music Halls. And was usually cast as the hero’s mother. Widow Twankey in "Aladdin" or "Dame Trott" in Jack and the Beanstalk. The public loved to see well-known comedians playing the role of Jack’s mother, or Sarah the cook in Dick Whittington. [back then, women comedians were practically unheard of] and the traditional has stuck ever since. The Dame is also known for wearing outrageous costumes, and these are often be used to good comic effect, by parodying the fashions of the day. The Panto Dame should exude warmth and comedy, even pathos, but is never required to do any "dirty Deeds". The only exception being the role in "Mother Goose".
THE 'UGLY SISTERS'
Unlike the dame, the Ugly Sisters always have to tread a thin line between comic characters, and out and out villains. The ugly sisters are of course an intrinsic part of the Cinderella story. But versions of them can be found woven into in other pantomimes. The first portrayal of the ugly sisters was done by women, but they were soon superseded by men. And like the dame, this has become a tradition that never changes.
THE CHORUS AND JUVENILES
The element of song and dance in Pantomime is extremely important. And Pantomime wouldn’t be the same without its chorus of singers and dancers, and troupes of juveniles. Today the average chorus in a small provincial pantomime can number as little as eight. Some shows manage to get by with as little as two professional dancers, supplemented by adult juveniles. Conversely, the chorus/juveniles in amateur productions can vary enormously depending on the enthusiasm and support in any given community. Some amateur groups can have upwards of thirty juveniles in the chorus.
ANIMALS
Every memorable pantomime contains them - and not always the type we have come to expect. The animals in pantomime are usually depicted by speciality turns in "skins". It is true to say that some of the greats started their careers by literally playing the back legs of the pantomime horse. Many years ago at the Hippodrome Theatre, Stockport, the front end of the horse was a young man named Charlie Chaplin. Animals have always enlisted the audience's sympathy and support.
SLAPSTICK
"Slapstick" takes its name from a device used in these early entertainment's, especially in "Harlequinades" Harlequin was considered to have magical powers. And carried with him a sword made of wood, which alternated, between being a weapon and a magic wand. This sword or bat had a hinged flap, which created a very loud "slapping" noise when used, generally to give a more theatrical effect when used to slap fellow actors. John Rich's Harlequin would hit slapstick the against the scenery to make the scenes change by knocking down a series of hinged flaps. The chase scene would take the characters too many different locations all controlled by Harlequin's magic bat. The locations of the chase were often places that people would recognise - named streets or areas of London for example. They also included mythical locations. The pantomime traditions of slapstick [meaning a certain type of clownish physical comedy] chases, speed and transformations were developed from Rich's Harlequinades. Slapstick eventually developed into modern form involving the throwing of custard pies, and squirting of water.
TAB SCENES
Tabs scenes, or ‘transformation scenes’ are played out in front of the middle curtains or ‘tabs’. And started as a way of moving between the different sections of the pantomime. Rather than just stopping one section and starting another, actors found ever more creative and imaginative ways to continue the story until the necessary scenery changes had been made. During these scenes, the actors would take off the giant head masks that they had worn for the story and remove their costumes to reveal themselves as the Commedia dell’art characters. As pantomime developed and stage technology became more advanced the transformations became events in themselves. Stage designer, William Beverley, first used the transformation scenes to alter stage sets. Scenery was flown in from above on wires or changed by a series of hinged flaps. Trick objects turned around to become another object. Beverley introduced a 'fan effect' where the scenery collapsed sideways and inwards, like a folding fan, to reveal a view from behind.
AUDIENCE PARTICIPATION
I have left this section to last. As it probably sums up what pantomime means to most people in the UK. Audience participation is as an important part of English pantomime tradition, as anything I have previously mentioned. And even the most staid members of the audience, suddenly become unrestrained in their enthusiasm to take part. The audience are actively encouraged to boo the villain whenever he enters, argue with the Dame, and warn the Principal Boy when the villain is behind them, by shouting out "He's behind you!" Below is a typical example of this in action. Ugly sister. "I’m much prettier than Cinderella" Audience - "Oh no you're not!" Ugly sister - "Oh yes I am!" Audience - "Oh no you're not!" This back and forth verbal jousting between the actors and the audience is an integral part of ‘panto’, and can happen several times throughout the show. Sometimes the actors will even leave the stage and move amongst the audience to continue this repartee.
THE FUTURE
Pantomime has survived, by adapting many elements of theatre. The element of "novelty" has always been an important factor in achieving this, as has its ability to incorporate modern trends and topicality within its structured framework. And by successfully weaving these into its format, it remains one of the most popular forms of entertainment in the UK. There are probably as many different explanations of pantomime and its history, as there are changes of the dame’s costumes. Pantomime is a living, growing art form. The Commedia Dell'art from which it is derived has all but died as, eventually, does all theatre which becomes fossilised. Pantomime has survived by taking and expanding from the new ideas that each age has given, and we hope this gloriously eccentric British institution continues to do so. "Oh yes we do!
Copyright © Limelight Scripts 2005
A Brief History of Pantomime
When you read the programme notes of a pantomime you are sure to be informed that pantomime as an art form it is very old and can be traced back at least to the Romans of pre-Christian times. However, you will be pleased to discover that 'Pantomime is not Pantomime', certainly not as we know it and as the Romans knew it. The 'panto' bit means 'all', and 'mime' has the usual meaning - a story told in actions, without words. The Roman form of Pantomime consisted of a single actor performing a story in mime, using a series of masks to represent all the characters in the play. The ubiquitous chorus explained the story to the spectators in rhyme and/or song. Recognisable as the panto we all know and love? I should Coco!
So how did the Christmas entertainment we have today acquire the name Pantomime at all? The answer is that no one really knows, and it probably came about by a series of coincidences and the influence of a very small number of very strong willed ACTORS.
Between 1660 and 1843 only two theatres in London were allowed to put on plays with prose. Other theatres had to put on other forms of entertainment to survive, such as music and dance, circus, and stories told in rhyming couplets and mime. Sometimes these proved more popular than the plays so that it was the Theatre Royal Drury Lane, one of the licensed theatres, which put on the first performance of an entertainment with pantomime in the title in 1717.
However, the forerunner of our modern pantomime can probably be traced back to JOHN RICH, who staged harlequinades in the 1750s. Performances started with an introduction in rhyming couplets, followed by a transformation scene into the harlequinade. The harlequinade was essentially the same story, in which handsome Harlequin (left) runs away with the beautiful Columbine who has been pledged by her father to an old man called Pantoloon. The story was told in mime and John Rich developed the Harlequin character to a very high level and received tremendous critical acclaim.
As the story of harlequin was so formalised, the actions became wilder as the characters ran through walls and jumped through windows. Different theatre managers competed with each other to produce the wildest scenes. This form of entertainment evolved steadily over the next 50 years, until the next influencial figure JOE GRIMALDI made his stage debut as Clown on Easter Monday in the year 1800. The play was 'Peter Wilkins or Harlequin in the Flying World'. Joe was an instant success and from that time on Clown became the dominant character in the harlequinade, although the basic story did not change. 'Business' with a red hot poker and a string of sausages became the 'norm' just as there are 'norms' in every pantomime today and many of the routines in pantomime can trace their origins to the antics of Joe Grimaldi and other clowns of that era. Grimaldi himself worked almost until his death in 1837
Over a period of time the introduction to the harlequinade increased in length and complexity, and many of the stories we use in pantomimes today were introduced. By the mid 1800s the stories of Cinderella, Aladdin, Puss-in-boots, Jack and the Beanstalk and many others had been used for the introduction, with the transformation of the characters into the harlequinade coming later in the performance and the harlequinade itself becoming shorter and shorter. In 1830 James Planche began working with LUCY VESTRIS putting on 'burlesque and burletta extravaganzas' with stories based on similar fairy tales as those used in pantomimes. Burlesques were more colourful than the pantomimes of the day and included dancing girls and very extravagant sets.
Lucy Vestris was already famous for taking on roles where she dressed as a man, and introduced the first female principal boy into pantomime,
although she did not transform into Harlequin, who continued to be played by a man. By this time pantomime had become a part of the 'traditional' Christmas scene and Planche and Vestris had to adapt their form of entertainment to be a pantomime when performed over the Christmas season. There was some debate in Victorian society as to whether this kind of entertainment, pantomime or no, was suitable for young children to watch. The year 1837 saw Lucy Vestris as the hero Ralph in Puss-in-boots. Female Principal Boys became the norm in pantomimes of this era, a tradition which has continued into modern pantomimes (right)
A major event in the theatre in 1843 saw a change in the law to widen the number of theatres able to put on plays with dialogue, so that pantomimes were released from rhyming couplets, although they are still used by fairies and demons, especially in the opening of the pantomime.
WILLIAM BEVERLEY was responsible for the introduction of the transformation scene into pantomime. In Planche's 'Island of Jewels' in 1849 he designed a scene in which a desert island turned into the Island of Jewels of the title. This was the final act of the performance, whereas today the transformation scene generally occurs in the last scene before the interval.
The final piece in the pantomime jigsaw came at the beginning of the 20th Century, in 1902 , when DAN LENO took the part of Mother Goose and set the standard for subsequent pantomime dames. A modern pantomime dame is shown below,
The harlequinade had just about died out by 1900, having survived in the British theatre for around 150 years. If we place the start of 'modern' pantomime at Dan Leno in 1900, then we can say it is starting on its second century of existence. If we place it as starting from 'A New and Dramatick Entertainment of Dancing after the Manner of Ancient Pantomimes called the Loves of Mars and Venus' which opened at the Theatre Royal, Drury Lane on 2nd March 1717, then pantomime is heading for its 300th birthday in 15 years time. Are we going to have a party? O yes we are!!
There is a wide selection of books available about pantomime although most of them are out of print and can only be obtained from your local library. Two very useful ones are:
A.E.Wilson 'The Story of Pantomime' London 1949
Gyles Brandreth 'Discovering Pantomime' London 1973
Both these books are dated now, and have not taken into account the changes that have occurred in panto in recent years. The major impact in the professional theatre has been to introduce stars from TV, including 'soap operas' and pop stars created from TV competitions. These stars are well know to the public who like to see them in real life. The pantomime itself may be affected by the presence of these stars especially if they are so highly paid that other essential items such as script, scenery or costumes suffer as a result. Only the theatre going public can judge. In general the female Principal Boy has been replaced by a man, but the tradition of the dame and/or the ugly sisters is still going strong. Peter Pan is now very popular as a pantomime theme and here Peter is played by a woman. In amateur theatre women performers generally outnumber men and the tradition of the female Principal Boy continues.
So how did the Christmas entertainment we have today acquire the name Pantomime at all? The answer is that no one really knows, and it probably came about by a series of coincidences and the influence of a very small number of very strong willed ACTORS.
Between 1660 and 1843 only two theatres in London were allowed to put on plays with prose. Other theatres had to put on other forms of entertainment to survive, such as music and dance, circus, and stories told in rhyming couplets and mime. Sometimes these proved more popular than the plays so that it was the Theatre Royal Drury Lane, one of the licensed theatres, which put on the first performance of an entertainment with pantomime in the title in 1717.
However, the forerunner of our modern pantomime can probably be traced back to JOHN RICH, who staged harlequinades in the 1750s. Performances started with an introduction in rhyming couplets, followed by a transformation scene into the harlequinade. The harlequinade was essentially the same story, in which handsome Harlequin (left) runs away with the beautiful Columbine who has been pledged by her father to an old man called Pantoloon. The story was told in mime and John Rich developed the Harlequin character to a very high level and received tremendous critical acclaim.As the story of harlequin was so formalised, the actions became wilder as the characters ran through walls and jumped through windows. Different theatre managers competed with each other to produce the wildest scenes. This form of entertainment evolved steadily over the next 50 years, until the next influencial figure JOE GRIMALDI made his stage debut as Clown on Easter Monday in the year 1800. The play was 'Peter Wilkins or Harlequin in the Flying World'. Joe was an instant success and from that time on Clown became the dominant character in the harlequinade, although the basic story did not change. 'Business' with a red hot poker and a string of sausages became the 'norm' just as there are 'norms' in every pantomime today and many of the routines in pantomime can trace their origins to the antics of Joe Grimaldi and other clowns of that era. Grimaldi himself worked almost until his death in 1837
Over a period of time the introduction to the harlequinade increased in length and complexity, and many of the stories we use in pantomimes today were introduced. By the mid 1800s the stories of Cinderella, Aladdin, Puss-in-boots, Jack and the Beanstalk and many others had been used for the introduction, with the transformation of the characters into the harlequinade coming later in the performance and the harlequinade itself becoming shorter and shorter. In 1830 James Planche began working with LUCY VESTRIS putting on 'burlesque and burletta extravaganzas' with stories based on similar fairy tales as those used in pantomimes. Burlesques were more colourful than the pantomimes of the day and included dancing girls and very extravagant sets.
Lucy Vestris was already famous for taking on roles where she dressed as a man, and introduced the first female principal boy into pantomime,
although she did not transform into Harlequin, who continued to be played by a man. By this time pantomime had become a part of the 'traditional' Christmas scene and Planche and Vestris had to adapt their form of entertainment to be a pantomime when performed over the Christmas season. There was some debate in Victorian society as to whether this kind of entertainment, pantomime or no, was suitable for young children to watch. The year 1837 saw Lucy Vestris as the hero Ralph in Puss-in-boots. Female Principal Boys became the norm in pantomimes of this era, a tradition which has continued into modern pantomimes (right)A major event in the theatre in 1843 saw a change in the law to widen the number of theatres able to put on plays with dialogue, so that pantomimes were released from rhyming couplets, although they are still used by fairies and demons, especially in the opening of the pantomime.
WILLIAM BEVERLEY was responsible for the introduction of the transformation scene into pantomime. In Planche's 'Island of Jewels' in 1849 he designed a scene in which a desert island turned into the Island of Jewels of the title. This was the final act of the performance, whereas today the transformation scene generally occurs in the last scene before the interval.
The final piece in the pantomime jigsaw came at the beginning of the 20th Century, in 1902 , when DAN LENO took the part of Mother Goose and set the standard for subsequent pantomime dames. A modern pantomime dame is shown below,
The harlequinade had just about died out by 1900, having survived in the British theatre for around 150 years. If we place the start of 'modern' pantomime at Dan Leno in 1900, then we can say it is starting on its second century of existence. If we place it as starting from 'A New and Dramatick Entertainment of Dancing after the Manner of Ancient Pantomimes called the Loves of Mars and Venus' which opened at the Theatre Royal, Drury Lane on 2nd March 1717, then pantomime is heading for its 300th birthday in 15 years time. Are we going to have a party? O yes we are!!There is a wide selection of books available about pantomime although most of them are out of print and can only be obtained from your local library. Two very useful ones are:
A.E.Wilson 'The Story of Pantomime' London 1949
Gyles Brandreth 'Discovering Pantomime' London 1973
Both these books are dated now, and have not taken into account the changes that have occurred in panto in recent years. The major impact in the professional theatre has been to introduce stars from TV, including 'soap operas' and pop stars created from TV competitions. These stars are well know to the public who like to see them in real life. The pantomime itself may be affected by the presence of these stars especially if they are so highly paid that other essential items such as script, scenery or costumes suffer as a result. Only the theatre going public can judge. In general the female Principal Boy has been replaced by a man, but the tradition of the dame and/or the ugly sisters is still going strong. Peter Pan is now very popular as a pantomime theme and here Peter is played by a woman. In amateur theatre women performers generally outnumber men and the tradition of the female Principal Boy continues.
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