It is Boxing Day morning here – and my thoughts are with the two panto teams and theatre staff, crew and volunteers who are heading to both Harrogate Theatre and The Core Theatre Solihull at the Artrix in Bromsgrove to put on two shows each today. Today across all those shows they will be playing to over 1500 people, children and their families will be enthralled, entertained and have their fill of ice cream and family fun.
I have thoroughly enjoyed directing both Dick Whittington at Harrogate Theatre and Jack and the Beanstalk at Artrix Theatre Bromsgrove.
Having worked as a director for many years, and indeed as an actor who has also performed in several Panto’s up and down the country I now realise how important an art form this really is. It is truly multi-generational, accessible theatre and it cuts across social and class boundaries like no other work does. Where else can you get three generations of families coming to engage in a piece of live entertainment – which has something for everyone and allows interaction, audience participation and you can wear your flashing Christmas jumpers and wave magic wands in the air all the way through?
What we as theatre makers have to remember is that this needs to be taken very seriously indeed. The production values, performances and effects need to be absolutely top notch. As there are people coming to the theatre for the very first time. It is vital that we can give them the most inspirational, magical and entertaining experience we can possibly give them.
I know this to be true from personal experience. My very first trip to the theatre was when I was 6 years old. I was taken by my grandmother who loved the theatre – and I remember sitting at the back of the stalls at the Winter Gardens in Blackpool. It was Babes in the Wood and had Ken Dodd in it who I loved as he was so funny and made the whole theatre roar with laughter. But it was the wicked fairy who really captured my imagination. Bathed in green light she was so magical and a little bit scary, but it was the connection I witnessed as she stood next to me at the back of the stalls that ignited my theatrical journey to this day. She was waiting for her entrance through the auditorium, at the back of the stalls she hadn’t got her green light on her, she was in her costume just waiting for her cue. She looked like a normal real person, not the fairy at all. Then the music started, she looked at me and winked and then the follow spot hit her and she transformed before my eyes into the fairy. How did she do that? What made that happen? I saw it happen, We had shared that connection and from that day I knew I wanted to know what made that work and how you did it!
So started my journey as an actor and director. Which is why I know how important it is that we are able to recreate those magical moments and connections with this work. For all those children and their families for whom it is probably the first time they have ever set foot inside a theatre.
So the magic will continue today and every day until the end of the runs with everyone onstage and backstage and front of house all doing their very best to make shows and experience the best that is possible for our audiences. Panto is important – for lots of reasons not just for the theatres, but for the way it provides that accessible, multi-generational work that connects, inspires and allows us to share with each other a live human experience that is so vital for us all – especially now.
Have great shows and remember there is possibly a 6 year old child there in the audience who one might one day become a director!
Photos – Dick Whittington – Karl Andre. Jack and the Beanstalk – Robert Day
Kenny Jimoh – Marva Alexander Marva Alexander trained at Rose Bruford Drama College of Speech and Drama. Marva’s most recent role has been in the TV drama, It’s a Sin by Russell T Davies playing Mrs Ngomo. Her other TV credits include Doctors, BBC Walking with Caveman, Silent Witness and The Bill. For two years she trained with Black Mime theatre company performing in two of their productions Dirty Reality Two and Mourning Song. She has appeared in many Theatres productions including Salisbury Playhouse, Manchester Library Theatre, Young Vic, Birmingham repertory Theatre and Northampton Theatre Royal. 
Mrs Jimoh – Jumoké Fashola Jumoké Fashola is an award winning Radio & Television Broadcaster, Jazz Singer and Actress. She currently presents J to Z on BBC Radio 3 and Sunday Breakfast – Inspirit for BBC Radio London. Her theatre credits include Temi Wilkey’s The High Table (Bush Theatre/ Dir, Daniel Bailey) and Zawe Ashton’s For All The Women Who Thought They Were Mad (Hackney Showroom/ Dir, Jo McInnes). She is the creator and host of the Jazz Verse Jukebox which had a 7 year residency at Ronnie Scott’s Jazz Club, London.
Iya Agba – Golda John Golda John, a Nigerian born veteran award-winning Television, Stage and Film Actress has appeared in numerous theatre productions in Britain and internationally. She played lead roles in Wale Ogunyemi’s The Divorce, Wole Soyinka’s Death and The Kings Horse Man, Opera Wonyosi, Bertolt Brecht’s Good Woman of Setzuan, directed by Dr. Bode Osanyin, to mention a few. Golda was a famous face on Nigeria’s Television Authority in the 90s with plays such as Mirror In The Sun, Checkmate, Village Headmaster and Family Ties. Golda is one of the pioneers of Nigeria’s fast growing film industry, Nollywood, with such films as Ti Oluwa Ni Ile, Suspicion and Ahon among others.
Adesuwa – Diana Yekinni Diana Yekinni’s theatre credits include: Oyiri di ya in Three Sisters (National Theatre); Mum in I’ll Take You to Mrs Cole (Complicité); Nurse in The Secret lives of Baba Segi’s Wives (Arcola), Tituba in The Crucible (UK Tour); Molly in Drafts(Southwark Playhouse); Expensive Shit (Traverse Theatre / Royal Festival Hall); For Coloured Girls Who Have Considered Suicide (Lagos, Nigeria); London Life Lagos Living (Lagos, Nigeria) TV & Film credits include: Dolapo in For Love (BBC Films); Skin The Documentary (BeNaya/Netflix); Medium(CBS); and Wonu in The Mrs (Africa Magic) Lunch Time Heroes (Netflix).
Jide – Oliver Alvin-Wilson Oliver Alvin-Wilson’s credits include, for the National Theatre : All Of Us, Nine Night, The Red Barn, Emperor and Galilean and All’s Well That Ends Well. Other theatre includes: The Doctor at the Almeida; The Twilight Zone at the Ambassadors; Hamlet for Hamletscenen; A Midsummer Night’s Dream for the Young Vic; Othello at the Stafford Gatehouse; A Midsummer Night’s Dream, The Merchant of Venice and Henry V for Propeller; Antigone, Romeo and Juliet and This Child for Pilot; Doctor Faustus for West Yorkshire Playhouse; Blue/Orange on UK tour for ATG; Antony and Cleopatra for Nuffield; To Kill a Mockingbird for Theatr Clwyd on tour; Pigeon Lover at The Space; and Much Ado About Nothing for Derby Live. Oliver appeared in the films Wonder Woman 1984 and The Huntsman.
Nurse – Suzann McLean Suzann has worked extensively in both theatre and television she is the winner of British Arrows Gold Award for her performance in the BUPA for living advert and won the African Film Best Actress Award in 2011. Other acting credits include Pennyworth, Good Omens, The Honourable Woman, Dr. Who, Little Miss Jocelyn, Measure For Measure (National Theatre) A Raisin in the Sun (Synergy Theatre). Suzann is artistic director of Theatre Peckham Directing credits include Offie Nominated Extremism (Theatre Peckham), Driving Miss Daisy (York Theatre Royal), Robin Hood (Theatre Peckham), Catcher (Pilot Theatre). 
Marcus Romer's work & blog 