Although there are only half a dozen or so tales in the traditional
pantomime roster, it is unprecedented in my experience for virtually
every London panto venue (Hammersmith only excepted) to choose the same
one. Small wonder that Stratford East seemed unable to secure a
conventionally-shaped magic lamp and has to cover up the deficiency
with a line about it looking like a teapot. It may also be unsurprising
that the more enjoyable shows are local productions at Hackney and
Stratford, the less spirited being instead products of nationwide panto
“stables” (Imagine at the Shaw and the colossal First Family
Entertainment at Wimbledon).
All four shows tell the same tale, of course: young Aladdin, son of
laundress Widow Twankey in old Peking, finds a lamp which summons a
genie and so wins the hand of the princess and foils the wicked
Abanazar. The individuality comes in the treatment of the various panto
conventions and the script’s mixture of jokes old, new, borrowed and
blue. Susie McKenna (who also directs) at Hackney has become a
consummate hand at this combination over the past decade and more; I
was, however, pleasantly surprised to see a strong showing at the Shaw
in a rock’n’roll treatment of the tale by Iain Lauchlan and Will
Brenton, best known as the creators of
The Tweenies on BBC children’s
television.
Some traditions, alas, are dying out. All four shows cast a man in
implausible drag as Widow Twankey, although Derek Elroy at Stratford
undermines his nicely camp performance by wearing slacks instead of the
usual succession of outrageous frocks. But only Hackney adheres to the
“principal boy” convention by casting a woman, Anna Jane Casey, as
Aladdin. Paradoxically, it is in fact only when this gender-bending is
eliminated that gender issues begin to appear, hence the awkward
ambition of Stratford’s princess to become a truck driver. Also sadly
missing is the “slosh” routine, a variant on the pie-fight which either
soaks or gunks up performers and stage; firing high-powered water guns
into the audience is no substitute for a good old mess. And only at
Hackney do sweets get thrown into the audience: “What are they gonna
do,” asks Clive Rowe’s Twankey in defiance of health and safety, “close
us in January?” The point being that the Empire will indeed go dark
after this season whilst it tries to sort out its financial viability.
Rowe is now one of the country’s finest pantomime dames. His
combination of boundless energy, indefatigable good humour and a
terrific, powerful singing voice would make him a priceless asset to
any panto, but he is inextricably linked with Hackney. So are his
equally able colleagues Tameka Empson (rather underused this year as
the Empress) and Kat B, who rings the changes by making the genie an
amiable goof rather than an imposing figure like Peter Straker’s
titanium-lunged musical belter of a figure at Stratford. The most
enjoyably villainous Abanazar is Michael Bertenshaw at Stratford, whose
performance surprisingly eclipses even that of Brian Blessed at
Wimbledon. “Underpowered” is not a word normally (or, perhaps, ever
hitherto) associated with Blessed, but apart from repeated exhortations
to us to boo him more loudly, he makes little connection with the
audience. Nor does anyone in Ian Talbot’s end-of-the-pier staging,
notwithstanding a succession of star names as the Genie. (I saw Ruby
Wax at the end of her fortnight in the role; as I write, it is
uncertain whether Pamela Anderson will arrive to do her stint.)
Panto is an acquired taste even for natives and bafflingly arcane for
most non-Britons, but to get the full flavour of the experience you
need a good, raucous house (though not quite as raucous as Stratford at
my performance – my ears are still ringing) and a cast who give 120%
whilst always letting us in on the joke of it all. In the capital, this
year as almost every year, that means Hackney.
Written for the Financial
Times.