What’s a Panto? One might well ask, upon learning that Stages Repertory Theatre is producing a Panto Cinderella for the holidays.
British transplants fondly recall attending “the Pantomime” each Christmas as children, just as British actors sometimes mention having worked “in Panto.”
Not to be confused with white-faced pantomime as famously practiced by Marcel Marceau, the British Pantomime is a different breed, though the exact definition is hard to pin down. Developed from Italian commedia dell arte, via the Harlequinade, it acquired most of its key characteristics in the 18th century under actor/manager John Rich (1681-1761).
Basically, it’s a lavish family musical based on a fairy tale, presented at Christmastime, with conventions particular to the form, such as cross-dress casting of certain roles and a loose structure that allows for topical and local references.
However it evolved or is defined, it’s been a popular Yuletide tradition in Great Britain and Canada for generations.
And now it’s coming to Houston courtesy of Stages’ Panto Cinderella, opening Friday.
Stages artistic director Kenn McLaughlin, who directs this one, became a fan because of London-born Stages board member Emma Jacobs.
“For years she’s been saying, ‘You ought to do a Panto,’ ” McLaughlin says. “Last Christmas, she was booked to go to London and invited me along to introduce me. I saw four of them. I was hooked.”
This time-honored tradition, in fact, has been gaining ground in London, with stars such as Ian McKellen performing them.
“To some extent, each has its own rules,” McLaughlin says. “Some have an original score written for that production. Others use existing songs, sometimes with altered lyrics. They’re episodic, more like vaudeville than our musicals: now a song, now a dance, now a skit.”
They’re big shows, usually staged in large proscenium theaters.
“I’ve had much counsel on that aspect,” McLaughlin says, “because here I am producing one on our 171-seat thrust stage. But I wanted to try one on our scope and scale. I have 19 people onstage, playing 50 characters in the show. It’s one of the biggest shows we’ve done.”
Stages’ Panto Cinderella is an original version with book and lyrics by London-based Kate Hawley and music by American Gregg Coffin, who has been represented at Stages by two of his other musicals. It was first staged by a Sacramento company in 2000.
Veteran British actors Genevieve Allenbury and Patrick Marley, both experienced in the form, are in the cast as guest artists. Friends of Jacobs, they met McLaughlin when he visited London and were swept along with the enthusiasm for introducing Panto here.
“I was the one who ran around to get them (Jacobs and McLaughlin) seats to see those Pantos at the last minute,” Allenbury says. “No mean feat because everyone goes to see them and they’re sold out.”
Like many of her countrymen, Allenbury recalls a Panto as her first experience of theater.
“I’ve been enchanted with them ever since,” she says. “What makes it special is that it’s a tradition going back a long time, connected to music hall and before that to commedia dell arte. They can have a kind of innocent bawdiness, like the naughtiness of Benny Hill. Adults and children can ‘get’ them at different levels.”
Allenbury relishes the chance for local and topical touches.
“Whether in Glasgow or in Houston, that’s what makes the audience feel it’s their show. As the Fairy Queen, who’s also a bit of a scamp, I have a line about how ‘Poor Cinderella has to live in a FEMA trailer.’ ”
As part of their visit, Allenbury and Marley conducted a residency with students at Sam Houston State University, where Stages has an ongoing alliance with the theater department.
They also will give four performances of Wilde at Heart at Stages later this month.
Marley created the two-actor show on the life of Oscar Wilde for Allenbury and himself, and they have toured it widely.
Far from fearing whether Panto will “travel well,” McLaughlin says the show has strong sales. Stages’ marketing team has made a special effort promoting it to the city’s British community.
“It’s a tradition they’ve grown up with,” he says. “So many are eager to introduce their children to it.”
