adults. Much ofthe humour 5 certainly excludes teenagers and often children as well. I don‘t mind cross-dressing as long as it's done well. I love a good traditional pantomime. When you see an actor like Stanley Baxter playing the
Dame and doing a strip it is an example olconsummate acting. There's nothing like a good groan at
a corny joke. ()ne I'm going to use this time is where one character says ‘Who are you‘.” and the other replies. ‘l‘m line. hoo's yourself."
I PeterLincoln: DirectorotAladdin, RSAMD,G|asgow,11—15 Dec.
I suppose the strength of pantomime is that it gets the whole family into . the theatre and they seem to enjoy it. We had an instance in the present one where one of the students asked why Aladdin and the Princess didn’t singa duet. I haven‘t checked up. but I bet if you looked back you‘d find that it was a long-standing tradition
for them to sing saperately'. but never together. Aladdin is lull of corny names like Sing-l li. So-Shy and Say-When. but I think the reason people come back year alter year is to hear the same jokes again. It's basically the satne scripts. the tradition of the l)ame comes from when pantomime became a vehicle for Music i lall actors. many of whom were male or female impersonators. I'm sure if you stood and analysed it you might find that they were sexist. but analysing is the last thing you do in a pantomime. An oby iotts thing to do would be to llash up a picture of 'l‘iananmen Square. because it‘s Aladdin. but that would be disastrous.
I Peter Rattan: Playing the Sorcerer in the Sorcerer’s Apprentice, Citizens Theatre. Glasgow. 28 Nov—20 Jan. The strength of a pantomime. ilit‘s a genuine family show. is that it‘s a good story and it entertains the whole family. the weakness. if it’s not a traditional pantomime. not a genuine family show . is that it can become a vehicle for Variety performers. theretore it becomes an adult-orientated show . rather than a family show. 'l‘he corniest panto line I can think of is ‘When I nod my head. you hit it‘.
I Dave Anderson: Co-author of Wildcat‘s The Greedy Giant, Clyde Theatre, Glasgow, 27 Nov—6 Jan.
It's a family experience. there is perhaps even more social interaction involved than in a normal trip to the Theatre. I think ifeross-dressing was taken seriously then it would be disturbing but it's more about undermining stereotypes. which can‘t be a bad thing. The cornicst line in our one happens w hen the two baddies come on dressed as a horse and someone asks. ‘What kind of horse are you'." and the horse says ‘I‘m a l’alomino.‘ 'l'o which the actor replies ‘But I don't know anyone called .‘vlino.’
I Elaine C. Smith: Starring in Peter and Penny‘s Panto, Tron Theatre, Glasgow, 7 Dec—14Jan.
It's really about getting the balance right between the children and the adults in the audience. ()ften women don’t seem to get as good parts even though they often play the male lead in these things. llopetully that's changing. 'l'he corniest line is probably my first line ol’the show. After a big flash ‘l‘hc ( iovan l’airy appears and says ‘( )h. ye ry funny. youse cart laugh that nearly blew nta knickers all.‘
I Paul Morrow: Playing the Dame in All MacBaba and the Tomb of Doom, Brunton Theatre, Musselburgh, 6 Dec—ﬁJan.
I think the strength of pantomime is the continuityofit. It's the last bastion of the Music l lall tradition. I suppose the weakness comes when people don t laugh. 'l‘he eorniest line lean think ol came in last year‘s pantomime which was l‘rankic MacStein set in Dracula‘s castle. lit the first scene the castle was like a hotel and they said I didn't have a booking. 1 said. ‘But I reserved by phone: 'l‘ransylvania
six—l-iy c-tliottsand‘. lt died a death that time tool (‘rossalressing only seems strange in Britain. It tends to be frowned on a bit here. Bttt it it was a .lapanesc theatre company it would be considered as something wonderful. It's a tradition that goes back to (wmmedtu (Jul/lure. I think it‘s a bit bad if you can‘t see the trousers under the dress. but otherwise I don't see the problem.
I Euan MacLeodzAppearing in Leitheatre‘s Queen oi Hearts, Church Hill Theatre, Edinburgh, 13—16 Dec. 'l‘he great appeal of pantomime is that it appeals to all ages. they‘re timeless. (toss-dressing is all part of the panto. which is itsell diy'orc‘ed from reality so it‘s harmless. Probably the corniest line I can think of happens in our one when the Ace of l learts says to the Rome ol Hearts: ‘t-xu mcr Brow it‘s bull is worth a thousand pounds.‘ 'l‘hc Kitave says. “It you put a bomb in its leed what would that be'.” Ace:
"l hat’d be abonnnablc (a bomb in a bull).‘
Show, Glasgow Arts Centre, 5—21 Dec. the musical content is over—empliasised. kids get bored during songs. 'I‘he strengths are the stories; a bit ofcruelty always goes down w ell and you can't beat the tale ofgood against e\'il. I’m all in favour ofcross-dressing. I don‘t think it matters at all. it‘s the character that matters rather than the person who plays them. I don‘t know about corny lines but I remember a friend of tninc in a panto instead ofsaving look here comes the prison ' ‘ governor.‘ said look here comes the (iovan prisoner.' Which threw quite a few people.
_ What the punters say. . .
I’m going to the King‘s at Christmas. It's something you do at Christmas. ken. (‘hristmasy. We go with the fatnily.
We will be going to see a pantomime. We bring our grandchildren. We'll probably try to see both this year — the one in the West as well. because we're halfway between Glasgow and Edinburgh. 1 don‘t think it's the same jokes every year. They’ve got a diferent way oftelling them. or at least different people telling them. Our grandchildren are fascinated by it — all eyes.
I Anon. Queueing for ‘Cats‘.
ldon't normally go. we used to take the kids. but I’m a bit old for pantos now.
ldon't know. it depends. I‘m not a regular theatre goer though. I just go when there‘s something 1 want to see. I went during the Festival.
No. not in recent years. we used to go when our daughter was young. it depends on the pantomime. I think (‘inderella (at the Lyceum) quite tempts me. I‘ve read all the blurb about it and sounds as if it's going to be absolutely lovely. if they keep to the story. When we go to the traditional ones we always join in.
You wouldna catch me at one of them. A load of bollocksl
I Sally North and Elizabeth Macleish. [haven‘t made tip my mind yet — King's or Perth Rep. We keep coming back every year because of tradition and the fact that they‘ve got back to being family pantos and are no longer just machinery for a star to do their stuff. We join in and shout for the sweeties and join in the silly songs.‘
I Catherine McDermott.
()fcourse I do all the joining in bits. doesn't everybody? It’s the tradition more than anything else. I usually go with a crowd from work and by the time you get to the pantomime you‘re not in a state to notice the jokes anywayl'
Ah love them. especially when they throw the (‘urly-Wurlys — that’s great.
I never go to the Pantomime. No time. When the kids were wee I went. but they‘re all grown up now. I Anon.
We‘re going to see Robin l lood in lidinburgh. One year we go to lidinburgh. one year to (ilasgow. It was Andy (‘ameron last time. It's Ian Stewart this year. We usually like Rikki Fulton though.
I Stuart Hamilton, Keith Hamilton and Alastair Lindsay.
Sometimes around (‘hristmas we go to the pantomimes. yes. The ones at the King's.
I Jenny Ague.
No I never go. Well not unless : there‘samernberofthe(‘oronation
Street cast in it.
Giants of the Panto world speak out (Iett). while Mother Goose (below) looks set to get the kids in a flap, egged on by the cast.
t. ng MOIRA NICOL
The List 3-1 November *— 7 December l9895