Street Life: Oh no it isn’t!

Pantomime has proved to be one of the most enduring forms of entertainment for all classes and every age group. There must be something innate about it, because within minutes of the curtain rising on their first theatre visit, the tiniest tot will be calling out “it’s behind you”, like a veteran.

Over the years, small innovations may have crept in, but woe betide companies who ignore sacred panto traditions. One is that the (good) fairy comes on stage from the right, while the (evil) villain always enters from the left. Other conventions are that cross-dressing is mandatory, the dame’s voluminous union jack bloomers must be exhibited at every possible opportunity, and topical or local jokes get the biggest laughs.

Even the wardrobe department has traditions to maintain. Costumes for the finale must be so outrageously fabulous they command rapturous applause when, two by two, the cast enters. Goodies take their bows, hand in hand with baddies, to show that all ill will has been put aside for another year.

Oldham Coliseum pantomime Cinderella 2018.

Panto has proved to be a money spinner, so companies are prepared to push the boat out with costumes, scenery and special effects.

Live animals and local dance troupes go down well, but perhaps the real favourite are the ‘skin roles’ which don’t really exist outside pantomime. An actor named George Conquest built a career around playing animals in panto. The most ambitious of his costumes was an octopus 28 foot wide. Skin roles didn’t seem to do an actor’s career any harm either. Henry Irving once played the wolf in Red Riding Hood, while Charlie Chaplin was the front of a pantomime horse in Stockport.

Panto has enriched the language with words and phrases everyone recognises. Cinderella is shorthand for a drudge, or something unvalued. And we are warned not to kill the goose that lays the golden egg. The name of an inferior brand of green tea called Widow Twankey would no doubt have disappeared unremarked if it hadn’t been immortalised by Pantomime.

I never went to a lavishly produced extravaganza at a large theatre. I regret not seeing Norman Evans, the ultimate dame in my opinion, when he appeared at the Palace theatre, Manchester in 1952. But that year, without being aware of it, I was taking a tiny part in local panto history.

Queen’s Park Hippodrome on Turkey Lane was our nearest theatre. By the time I was old enough to go, saucy French variety acts had become its normal bill of fare. However, in 1952, there was one last pantomime before the theatre closed altogether, and I was there.

Buttons had us singing along to ‘you push the damper in and pull the damper out and the smoke goes up the chimney just the same’, so I guess it was Cinderella. I was only 5, and my clearest memory is of the long, cold walk home up Church Lane afterwards.

With the exception of that one visit to the Hippodrome, all my childhood pantomime recollections are of amateur productions at St. John’s church hall. What we really loved about it was that, with the exception of the name, nothing ever seemed to change.

Year after year, the pianist’s ‘victory roll’ hair style stayed the same, the Sunday school superintendent played the dame, and the kids you went to school with, were the ‘village folk’.

Sunday school benches formed the front three rows, and they were exclusively for children. Adults were accommodated on chairs behind them.

Our move to New Moston meant I left St. John’s Sunday school when I was nine. That was the minimum age to audition, so 1956’s panto would have been my first.

As a painfully shy, ungainly child, any part I got would have been entirely due to regular Sunday attendance rather than talent.

Despite being devastated at missing my chance to participate, I still looked forward to going to the pantomime as usual. When the curtains opened on the ‘village square’, I was horrified to see that amongst the ‘villagers’, there was a girl from my class at Lily Lane.

She didn’t go to Sunday school in my time, so must have joined just before the audition. How was it that a part, that should rightfully have been mine, went to this interloper?

It might be over sixty years, VH, but don’t think I’ve forgiven you yet…

Related Stories

North West Theatre Arts Company – Rent

I’m seated in the front row at NWTAC’s theatre on Lightbowne Road, Moston to see an award winning rock opera called Rent, set in the late 80’s. I have no preconceptions. I know only one song from the show, “525,600 minutes”.

The audience filter in from the bar, get comfy and settle down.

There’s a hush as the lights go down…

The opening scene is set in a cold, bleak attic apartment and the opening number places it in New York – there’s no missing that accent. Mark and Roger can’t afford food nor pay the rent. The storyline follows the two young men and their friends; musicians, dancers, film makers, etc., for one full year.

James Llewellyn Burke and Anthony Horricksset design by Mark Beaumont

Poverty, drug addiction, sexual orientation, new relationships, lost love and a deadly illness called AIDS all impact on their dreams and aspirations as the year unfolds. 525,600 minutes to be precise.

There’s no spoken dialogue…

It’s a musical! The story-telling ability of the cast is superb. Each song is not just recited it’s delivered with passion, you empathise automatically with each individual character. Whatever anguish or emotions they are experiencing leaves you as sad or happy or crushed or defiant or desperate as they are.

Owen Garcia, played the flamboyant and vivacious Angel Schunard beautifully. He owned the space when he took to the stage and won the heart of Tom Collins, played by Prab Singh. In fact, he won all our hearts.

The multi-talented Anthony Horricks played the mournful musician Roger Davis. He and James Llewellyn Burke, aka Mark Cohen, had a great rapport. They are both powerful singers who worked really well together, with a treat from Anthony’s guitar playing thrown in. Solomon Asante-Owusu conveyed a clean cut, controlled Benny Coffin III and looked every bit the part of a wealthy landlord.

There’s love in the air as well as despair…

Bring on the girls! Mimi is a dancer in a strip club, she’s seductive and sultry but yearns for real love. Maria Collins played her perfectly. Maureen, played by Halle Kerley, is also a performing artist; bi-sexual, risqué and self-assured. She’s rejected Mark to be with the affluent Joanne Jefferson, a lesbian activist, played by Annabelle Cook. Ladies, what would your mother’s say! You all looked and sounded AMAZING.

From left to right: Annabelle, James, Anthony, Owen, Prab, Maria, Halle, Solomon

The vocals were fabulous. The faces on the main line-up says it all. They love what they do.

The supporting cast played anything up to three roles each. They lightened the mood, brought a brighter tone to the dark subjects being portrayed and were really refreshing.

Hats off to Beth Singh, Musical Director. She stepped lightly onto the stage at the end to take a bow on behalf of all the Production Team. It doesn’t happen without them and they thoroughly deserved the applause too.

Next up for NWTAC is A Night at the Cavern Club starring Beth Singh as Cilla Black and featuring hits by The Beatles, Gerry and the Pacemakers and more. It runs on Friday 18th and Saturday 19th Feb. Tickets are on sale now but will sell fast so don’t hang about.

Follow NWTAC on Facebook for details of future performances, tickets, offers and updates or click here for NWTAC’s website. You can add your details to the mailing list and get updates straight to your inbox.

Related Stories

North Manchester AODS – The Black and White Mikado

It’s the time of year for welcoming guests and offering hospitality. Last week North Manchester Amateur Operatic and Dramatic Society took to the stage at NWTAC’s theatre on Lightbowne Road, Moston, taking advantage of an excellent facility and support team.

The Black and White Mikado ran for four nights and I joined a packed audience for the opening show on Wednesday 8th December. I use the term ‘show’ loosely. The Mikado is an ‘operetta’ (part opera, part dialogue) and, typical of a Gilbert and Sullivan composition, has a light-hearted, comedic storyline.

Originally set in Japan and lavishly colourful this version is very ‘1920’s British’ with art deco scenery and matching black and white costumes. The effect is striking and works well, along with adaptations to the original script.

Even if you think you don’t know ‘The Mikado’ you will almost certainly be familiar with several of its musical numbers: A Wandering Minstrel, The Flowers That Bloom in the Spring, Three Little Maids From School Are We… and more. If you don’t recognise them, I can only assume that you played truant from school.

Charlotte Crossley took the lead female role, Yum-Yum. She has a delightful voice, clear as a bell. She reminded me of a fresh faced Julie Andrews and I’d be delighted to see her take on a part like Mary Poppins or Maria Von Trapp. I’m certain she could rival Julie any day.

Seb Lassandro, aka Ko-Ko (the Lord High Executioner), was perfectly cast. He entered the stage with his ‘little list’ speech which, in keeping with tradition, included current famous and infamous miscreants who deserve his ‘executioning‘ talents. The audience nodded their approval several times and one or two suggested victims even got cheers. I may have heard a certain Boris mentioned.

Seb’s lively portrayal of Ko-Ko was animated and thoroughly entertaining. He charmed the audience and gained much sympathy for inadvertently losing his young charge, love and future bride Yum-Yum to the Wandering Minstrel Nanki-Poo, played by Lawrence Shoebridge.

I was genuinely impressed by the repertoire and wealth of experience that the leads and supporting cast brought to this production; Jill Ratcliffe, Dave Seager, Mike Nash, Jack Brierley, Rebecca Tonge and Steph Eckhardt played their characters convincingly.

The producer, Paul Allcock did a superb job of pulling everything together to make The Black and White Mikado a successful stage production; opera singers, actors and wider cast, dancers and musicians included. The latter earned applause for their impeccable timing, so too the dancers from the Anita Tymcyshyn School of Dancing for bringing grace and elegance into the mix. Well done all!

The programme included an introduction from the Society’s Honorary President David Gordon and a thank you to the audience “without whom there would be no shows and no society”. How true.

North Manchester AODS have existed for decades. They haven’t performed a show this extravagant for some time, notwithstanding the interruption presented by Covid.

A few weeks ago Nick Lowe, Secretary, Gentleman of Japan, Assistant Producer, Projectionist and professional multi tasker loaned me a book on the history of the Society ‘celebrating a hundred years of amateur theatre’. It is AWESOME. Contact Nick if you want a copy because I’m keeping mine.

There is a quote in it by the Blackley Guardian about the first show that took place in 1920.

“The Simpson Memorial Amateur Dramatic Society, Moston, has scored a great success in the presentation of Gilbert and Sullivan’s comic opera THE MIKADO….The Society is to be congratulated firstly on it’s selection and secondly on the manner in which it was performed.”

A century on and I couldn’t sum it up better.

Related Stories