The Unexpected power of Panto: How a British Tradition Reshaped My creative Vision
For years, I approached theater with a certain seriousness, focusing on weighty themes of identity, trauma, adn political upheaval. Then, in late 2021, a trip to see a production of Aladdin at the Hackney Empire in london completely upended my expectations of what performance could be. It wasn’t just entertainment; it was a revelation.
The show was a direct response to the collective experience of lockdown and the bizarre reality of the pandemic era. It fearlessly poked fun at everything – from the absurdity of daily briefings to the instantly recognizable figure of a certain former Prime Minister. This wasn’t exclusive or alienating; instead, it offered a shared space for uninhibited laughter, vibrant music, and joyful, unpretentious fun.It was,quite simply,captivating.
I’ve always incorporated audience interaction into my work, but the effortless way this panto achieved that connection truly floored me. It created a unique sense of giddiness and communal energy that I hadn’t experienced before. This got me thinking about the roots of this dynamic form of theatre.
Interestingly,the core elements of panto – simultaneous singing,dancing,and acting – resonate deeply with artistic traditions from southern Africa,where I grew up. Movement and music are integral to expression, woven into the fabric of performance. In Britain, I realized, panto is perhaps the only time this holistic synthesis is so readily embraced.
my background is as a queer playwright from Zimbabwe, and I’ve previously written extensively about complex subjects like Robert Mugabe and the challenges of migration. I’m proud of that work, but aladdin sparked a shift in my creative trajectory. It liberated me from being pigeonholed as someone who only creates “Black/African work.”
It allowed me to explore my own playful side and embrace a precision that, surprisingly, is also essential to a truly great panto.You need both the wild abandon and the meticulous timing. this realization was incredibly empowering.
Now, we’re witnessing a thrilling evolution of the form. We are now celebrating a central dame in Mama Goose – a proudly African character – in a production I co-wrote. It’s a moment of genuine representation and a testament to the evolving landscape of British theatre.
A young man named Nicholas, who I mentored years ago and is now a talented DJ, will be in the audience. I’m eager to share this experience with him and, hopefully, make him proud.
Here’s what makes this moment especially exciting:
* Breaking Boundaries: Mama Goose challenges traditional panto tropes and embraces diverse representation.
* Cultural Synthesis: It beautifully blends British panto traditions with African performance styles.
* Joyful Liberation: It offers audiences a much-needed escape and a chance to revel in unadulterated fun.
Mama Goose is currently playing at Theatre Royal Stratford East,London,until January 3rd. It’s an experience you won’t want to miss.