Why postponement of some - but not all - of our 2020 panto season is our only option

Imagine Theatre has started to postpone some of its 2020 pantomime season by a year. Many of the shows which were planned for 2020 will now happen in 2021.

We completely understand the importance of pantomime to families, theatres and the local communities as well as the cast and crew members that we employ every year. It is a uniquely British collaboration. Panto is at the very heart of our community at Christmas time, with families all over the UK coming together to make memories that last a lifetime.

We know that the finances from panto are the lifeblood of many UK Theatres, from ticket monies to bar spend and merchandise, it is the single biggest production that many venues stage each year, often seeing more than 1/3 of their annual footfall over a 4 week period.  That’s why, alongside making these big decisions, we wanted to reassure everyone that where we are making these announcements, we are not cancelling completely but are POSTPONING the shows until 2021. In addition, we are also looking at whether there are any alternative options open to us. We will keep you posted as these thoughts develop and progress.

We’re sure many of you will be asking “surely it’s too soon to make a decision like this?” and “it’s only July, why are decisions being made so early?” so we thought we’d write another blog to explain why this is rapidly becoming the only course of action available to us in some venues, and the thoughts and reasoning behind it. We appreciate and understand that some of you will agree and some of you will disagree, but what we do want to explain is that these decisions took weeks and weeks to come to and were very carefully thought through from so many different angles and in full discussion and agreement with every single affected venue. Postponing a pantomime production is not a decision to be taken lightly, and we’re utterly heartbroken.

·         Surely it doesn’t take that long to prep for panto? Well, quite simply it does. Pantomime is on a constant 18-month cycle. Decisions about pantos 16 months away are taken in the August/ September of the previous year. What title? What dates? What ticket prices? What style of artwork? What profile of celebrities and performers do we need to approach? Etc This work is then completed ready for a show to go on sale as the previous year’s production opens.

The work on any particular pantomime really starts to ramp up from February of the year of the production and by the end of March, we’re firmly into the swing of pre-production meetings, casting, scripting, costumes, musical choices, marketing etc. But this year, that ground to a halt in mid-March and hasn’t been picked back up again. We’ve lost 4 months of the key preparation period and in line with all the majority of other producers and venues, have our entire team on Furlough.

·         No matter what we thought of, we found a barrier –  We drew up an enormous list of barriers and problems to try and solve, but no matter what we did, every single one of them, even with a solution in place, led to another barrier or potential problem. We touched upon many of them in our previous blog, but even the simplest of questions like ‘how do we keep actors and crew members socially distanced to the current government guidelines in the limited wing spaces theatres have whilst still fitting in all the scenery, props and special effects’ was a show stopper, without all of the same questions about social distancing in dressing rooms, in the auditoriums etc

·         The government has issued their roadmap but it has no timelines within it – As of July 2020, we have a roadmap of how we might return to theatres reopening and to full auditoriums, but there are no dates associated with these. We might start to prep for a full panto season, but then find that a theatre that we were due to perform in is unable to reopen for a number of reasons, or indeed the whole industry remains closed into 2021. We need guidance on timescales and rules to help us understand how the roadmap might be rolled out. There is a plan but we don’t know when it will be possible to go back into a theatre.

·         Social Distancing just doesn’t work for theatre - current guidelines state that social distancing will remain in place in auditoriums under phase 4. This means that capacity is currently believed to be cut to between around 30% to 40% of usual. Pantomime relies on playing to 80%+ capacities, 2 shows per day, 12 shows per week, to make it financially viable. With social distancing, that’s just not possible.

Plus, to make a venue Covid-19 compliant, it is looking like additional Front of House staffing will be needed for cleaning, temperature checking and so on – we’ve even heard one venue talk of the cost of their FOH staff and cleaners going up three fold. This actually makes the show more expensive for a venue to stage, but with less income coming in from box office. So quite simply, it becomes financially unviable for both the producer and the venue.

But most critically of all, we need to put the health and welfare of our casts, crew and audience members first – and if there were to be a breakout of Covid-19 in a theatre and it were to become a ‘hot spot’ then this could potentially be hugely damaging to the health of any individuals concerned. That is not a risk we’re prepared to take.

·         There is a financial rescue package that has been announced – but it doesn’t solve the problems that the virus presents, it simply provides what we hope will be enough money to help the industry survive. We don’t yet know how that package will be distributed and when.

·         “Panto Flu” does the rounds most years– with 2 shows a day, 12 shows per week there is an inevitability within the panto world that at some point within the run, someone in the cast will get ‘panto-flu’ and this can often spread to some other members of the company. Whilst we do our best to minimise this and all health and safety precautions are taken to minimise spread, usually the company keeps performing and battles through. We’ve known of star names with emergency dentists in their dressing rooms, isolation rooms for cast members who are not well, and swathes of juvenile ensemble not coming in because there is a sickness bug going round their school and we need to keep it out of the building, but up until now the show has always been able to go on.

But not this year. The moment anyone shows any sign of illness, we would have to send them home – and potentially the whole team working on the show. Once we lose 2 or 3 of the main cast or crew, the shows become unviable to run as there is only limited understudy provision possible on many productions. We’d be into a scenario of full ‘show stop’ for up to 2 weeks if someone were diagnosed with Covid-19, and no chance to recoup any investment and with the inevitable financial impact on the theatres themselves.

·         We can’t easily social distance backstage – ever been backstage in your local (or any) theatre? If so, you’ll know that the space is very limited.  At the best of times, its usually cramped and crowded. With social distancing, it’s impossible.

There is talk of casts going into ‘social bubbles’ but as well as all the logistical challenges this throws up, this could also mean everyone working on the production having to stay away from their families at Christmas.

·         Would the audiences come? - A company called Indigo is currently undertaking surveys of audiences to find out how willing they are to return. Numbers are currently indicating that 2021 seems to be the time when people would be confident to return. Plus, current guidance indicates that school trips may not be possible until 2021 and school groups make up a large percentage of our pantomime audience.

·         Can we get the insurances we need? – Part of the work behind the scenes is on making sure that the all right insurances are in place at the right times. This year, some of the usual insurances we take out are not available to us. This makes the financial risk even greater than usual. If we have to stop the show for any reason or there is a local lockdown, the losses we would incur are enormous with no way of recoupment.

·         We just can’t make the finances stack up – Pantomime works the same way as any production. There is a set of pre-production costs and a set of running costs. For a West End production, there is usually a relatively long period of time to recoup the pre-production costs alongside the running costs. For Pantomime, we have a fixed short amount of time for recoupment, a maximum of 6 weeks. And there is a real danger that we may lose some of that time to the show being closed due to illness should one of the cast test positive for covid-19 and we have to close for deep cleaning or other cast and crew go into quarantine.

Like many businesses, producing theatre is always a risk – but usually it’s a calculated risk and one which has consistent patterns year on year. This year is so different. We just won’ t be able to calculate the risk, either health wise or financially, and that’s not a risk we can take in the current circumstances – and we can only work with the information we currently have to hand on the day we have to make any decision.

So, the safest option for us seems to be to postpone some of our shows for a year and suffer short term loss to ensure our long-term future.

·         The producers have been talking to each other – These are not a decisions we have taken on our own. The pantomime producer’s community has really come together over this, with regular calls and chats with each other. We have all supported each other and worked together to collectively understand what all of this means for all of us and we find ourselves all facing the same problems and dilemmas regardless of scale of the production or venue.

·         There’s hardly any product to programme for the Autumn of 2020 and into early 2021 – for some venues it’s actually going to be easier for them to keep their venue mothballed until the spring of 2021, as there aren’t many shows for them to open for until then. Bigger tours take months to rehearse, and even smaller productions are reluctant to tour when there is no guarantee of an audience. Its more cost effective and safer for theatres to stay closed until the product is there for them to open with.

And we haven’t even mentioned the possibility that there could well be a second spike come the Autumn/ Winter of 2020 which may see us return to some of the lock down restrictions should there be the need, or the localised lockdowns which have started to take place…

The loss of some of our 2020 pantomime season will have an enormous effect on so many people and venues. We are truly sorry that decisions like this have had to be taken – but please rest assured that a huge amount of work has been and is still going on behind the scenes. What was, at the start of all of this, our worst-case scenario of not producing panto has now become the safest and best-case scenario in many places.

We believe that this solution is a short-term pain for a long-term gain. The truth is if all the pantomime producers take enormous risks this year and all go under at the same time, that could potentially be more catastrophic to the theatre and pantomime industry than one Christmas of us not producing some of the shows. It is safer for us to batten down the hatches this Christmas and produce again in 2021 – and pray the support we need is forthcoming.

We are sending all our love and best wishes to everyone who is involved in, performs, loves, creates and/ or watches panto. This year, more than ever, we are one big pantomime family and we will weather this storm and pantomime will come back bigger and stronger than ever in 2021, oh yes it will!

And we hope there will be an alternative offering coming - watch this space…

Take care everyone and stay safe and well.

Sending our best wishes to you all,

Steve and Sarah x

What is it like being a pantomime producer during the Covid 19 pandemic?

These are strange times. Usually by mid-May the Imagine Theatre Head Office team would be flat out with casting, scripting, preparing sets , wardrobe, props and marketing campaigns would be in full swing. With the planning for 16 shows all happening at the same time to manage, our days would usually be full to over flowing at this time of year with emails constantly pinging in, and the phone ringing constantly.

But this year it’s completely different.

Those usually busy phone lines have been transferred to Steve and Sarah’s home, and they are quiet. Many of our staff are currently on furlough and our inboxes are busy dealing with a multitude of emails never even considered in normal times. COVID-19 has turned a usually hustling and bustling company into a rather quiet one at the moment.

Our days are spent considering budgets and their impacts and meaning, speaking with theatres, listening to webinars from UK Theatre or such organisations, thinking a lot and listening to the government’s daily briefing, trying to understand what this means for our industry as a whole, as well as for pantomime come Christmas 2020. What we do know is that personal health, well being and welfare is paramount in this situation – for our staff, the theatre staff and for any potential audience members.

And the honest answer is that right now we just don’t know what this all means. There are more questions than there are answers. How can social distancing work in a theatre – for the audience? Front of house? Back stage? Do actors have to be 2 meters apart on stage? Can a wardrobe manager help with a quick change? What is the capacity of a socially distanced auditorium (word on the street is approx. 20% of usual capacity – slightly more in some venues, slightly less in others)? Will the finances stack up if we have to limit audience numbers but our production overheads remain almost the same? What happens if a cast or crew member becomes ill with Covid-19 during the rehearsal or performance process – does the rest of the cast have to isolate and are we in a ‘show stop’ scenario? How do we ensure that actors are 2m apart backstage if the dressing room area is limited? How do we manage social distancing backstage and side of stage where space is notoriously limited? The list goes on and is utterly endless.

However, the most important question of all is, if theatres do re-open, how confident will our audiences be to return before social distancing ends, or a vaccine is found? That’s the million dollar question.

With every person and organisation we talk to, there is a sense of the unknown. However, what we do know is that there is a huge amount of work going on behind the scenes and so we give a big shout out to the many organisations championing our cause including Equity, UK Theatres, SOLT, The Federation of Scottish Theatre, The Arts Council and absolutely everyone involved in trying to build a structured and co-ordinated approach to the situation from the theatre industry’s perspective. Thank you for all you are doing to help present our collective case to the Government and for working with us to try and understand the impact that all of this will have on us in the immediate, short and long terms.

So, while there are so many questions at present, what we do know is that it won’t be long until the right answers naturally presents themselves and whatever they are, we as an industry will be ready to pick up the panto baton again.

Stay safe and well everyone – because we really do mean it.

Sending you all our very best wishes

Steve and Sarah x

Casting – Everything you need to know

This blog is relevant to adults who are looking to apply for one of our principal performance roles whilst our main casting window is open. For ensemble roles, the same process applies, but please be aware that even though you may apply during the same window, we normally cast our ensemble once our main principal line up is in place due to the need for ensemble to pick up understudy tracks.
 
For children’s casting please click here and for production/creative teams and crew, please click here

 
Our Casting Process

At Imagine Theatre, we welcome applications from everyone. All applicants are considered for employment without attention to race, colour, religion, sex, sexual orientation, gender identity, national origin, or disability status.

Each year we are fortunate to receive thousands of applications from performers, creatives, stage management and more. To ensure that every CV or Spotlight link is given the time and consideration it deserves, we follow a clear and fair application process.

How and When to Apply

The guidelines on our website explain how and when to apply, and we kindly ask that you follow these carefully. This helps us to give your application the proper attention.

We completely understand that applying for roles can be competitive and that applicants often want to stand out. However, please avoid sending applications via social media messages or phone calls. Applications made outside the advertised casting process may not be considered, and we don’t want that to happen.

We are very active on social media, but these platforms are not practical for processing applications. We cannot move messages, photos, or CVs into our casting database, which means they may be overlooked. By applying through the method stated on our casting page, you can be confident that your application has been received, stored, and considered fairly.

Auditions

Due to the sheer volume of applications, we are only able to contact those we wish to invite to audition. Principal audition dates are usually published on our website; if you have not heard from us by that date, unfortunately you have not been selected on this occasion.

Please don’t be discouraged from applying again in future years. Casting needs vary each season depending on the titles we are producing and the roles already in place. For example, some years we may require more Dames and Comics, while another year we may need more Principal Girls and Father roles. It’s not unheard of for someone to receive an offer or an audition recall from us a few years after their initial audition - we really do pay attention and consider people further down the line too.

A breakdown of the roles we are casting for will always be posted on our website and Spotlight ahead of audition calls.

After Your Audition

If you are invited to audition, we will always let you or your agent know the outcome. However, please note that this may not happen immediately. Casting is often a complex puzzle across multiple productions nationwide, and can sometimes depend on a few key roles or artists confirming before the rest of the cast can be finalised. This may include waiting on a “name” performer, a resident Dame or comic, or an artist deciding between contracts. We promise we will update you as soon as we are able. It’s just not always a quick job to make those puzzle pieces fall into place.

How to Apply for Principal and Ensemble Understudy Roles

All applications for Principal and Ensemble Understudy roles should be sent to: casting@imaginetheatre.co.uk

• This inbox is monitored only during the casting period stated on our website.

• Opening and closing dates for applications will also be announced on our social media channels, so please keep an eye on these for updates.

• If you apply at the correct time and receive an automatic bounce-back reply, your application is being considered.

Important: Please do not send applications to individual emails within the company. Applications sent outside the official casting email may not be considered.

Thanks for taking the time to read this, and we look forward to hearing from you.

Thank you Newark and Southport

We’ve had the most wonderful 5 years producing the pantomime at the Palace Theatre, Newark and 6 years producing the pantomime at Southport Theatre.

Although we won’t be producing pantomime at those venues in 2020 we would like to thank the venue staff & audiences for their support and we hope to bring other shows to your venues in years to come

There are some super exciting times ahead for Imagine with new panto venues about to be announced for 2020.

Happy New Year

We're open at Fairfield Halls - Croydon Blog 10 - December 2019

Well, it’s been 2 years in the making but Cinderella at the Fairfield Halls is finally open. It’s been an incredible journey, but when you see the show you will understand just why this production has been so dear to our hearts and what has made it so very special.

Cat Sandion as the Fairy Godmother and Grace Chapman as Cinderella. Cinderella shall go to the ball! Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

 It’s utterly groundbreaking. There’s no other way to describe it. It’s innovative, clever, and moves the pantomime genre into the next decade with style and panache. And we’re hugely proud of the team who have worked so hard to make it all happen.

 We’ve talked about the cast in previous blogs so for this post we’re just going to say Ore, Tim, Cat, Grave, Katie, Jason, Alistair, James B, James A, Lizzie, Melanie, Samuel, Joseph and Lily, you are just amazing. Thank you for all your hard work and enjoy the run.

Ore Oduba as Dandini. In the Palace.Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

 The focus of this blog is going to be about those who have worked behind the scenes to bring this incredible production to life. This blog belongs to them and they’re amazing people. It’s impossible to single any one person out, because they have all played an incredible role in what is a completely unique and special project which we strongly believe is the way forward for pantomime in the future. From the initial vision, through set and costume designs, to animation, through lighting and sound to music and scripting, it takes team work to pull something like this off. Therefore, rather than single any one of them out, we’d like to pay homage to their work by simply showing you the incredible production photos, and giving a VERY long list of those who have worked on the project. Thank you to each and every one of you who has been involved. We appreciate it more than words can say

James Bisp as Prince Charming and Grace Chapman as Cinderella. Falling in love! Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

And finally to Neil Chandler and the amazing team at Fairfield. Thank you for letting us create this amazing pantomime world in your beautiful concert hall, which we’re sure in its history has never seen anything quite like this! Thank you for trusting us. Thanks for working with us and we look forward to what panto 2020 will bring! x

Jason Marc Williams and Alistair Barron as the Ugly Sisters. In the village. Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

Grace Chapman as Cinderella. You shall go to the ball! Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn..

Producers – Steve Boden and Sarah Boden for Imagine Theatre

Associate producer – Laura Taylor

Director - George Wood

Choreographer - Lynne Thomas

Musical Arranger - Steve Power

Musical Director - Steve Clark

Lighting Designer - Jamie Corbidge

Sound Designer - Mike Thacker

Set and Costume Designer - Mark Walters

Video Designer - Nina Dunn

Disguise Programmer - Luigi Sardi

Video Production Engineer - Harrison Cooke

Scenic build coordinator – Dave Edmunds

Costume coordinator for Imagine Theatre – Dawn Outhwaite

Production Manager - John Young

Company Manager - Nick Farmer

DSM on the Book - Laura Barton

Technical Stage Manager - Alastair Kleissner

ASM - Samantha Gardiner

Wardrobe Supervisor - Sarah Holland

Wardrobe Manager - Jennie Quirk

Wardrobe Deputy - Victoria Coles

Costume Makers - Sarah Holland, Stephanie Harvey, Frank Kershaw, Chic Chapeau, Wig Room

Musical Director/Keys - Steve Clark

Drummer - Mike Osborn

Bass - Dominic Palmer

Assistant Choreographer - Sian Owen

LX Programmer - Rachel Moule

Video Content Production - PixelLux

Illustrator - Elfyn Round

3D animator - Paul Roberts

3D animator - Olly Venning

2D animator - Tamaš Nadudvari

2D animator - Matthew Brown

2D animator - Letty Fox

Production Co-ordinator - Laura Salmi

Dance Captain - Joseph Lukehurst

Chaperones - Michaela Kelly and Team

Year of behind the scenes administration/ planning/ preparation and hard work – The Imagine Theatre HQ team

In the forest. Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

Tim Vine as Buttons. Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

Katie Cameron as The Wicked Stepmother. Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

Ore Oduba as Dandini. At the Ball. Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

Cat Sandion as the Fairy Godmother. Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

August is over! It’s almost time for the Halls to re-open - Croydon Blog 7 - August 2019

August has been another busy month in the world of Cinderella at Fairfield Halls, Croydon. Most people have been enjoying their summer holidays but not so for the team working on the show! The temperature has been rising in the design studios and workshops across the country.

Things are progressing well over at Fairfield Halls. Work is almost complete, and the seats are all fitted back in the Phoenix Concert Hall, where we will be performing. There are painters and decorators everywhere. The venue is well on track for its re-opening in just 2 weeks’ time!

The Halls are re-emerging from behind the hoardings! Source https://twitter.com/ErmerlindaJ/status/1162748360631246849

The first piece of panto related news to announce is that we welcome Nina Dunn on board as our Video Designer Nina is a really exciting appointment for us. Nina has worked on some amazing theatrical productions recently including 9 to 5 at the Savoy Theatre and the tour of In The Night Garden. This is the first panto that Nina has worked on and the first time that Imagine have included so much video content into one of their shows. The ideas being discussed are really exciting and we can’t wait to see the finished product. Nina is working very closely with the designer Mark Walters to ensure that the A/V content of the show has the right feel and style to the rest of the show. Having video content in the show has certainly got the creative juices flowing within the creative team.

L-R Nina Dunn (Video Designer), Laura Taylor (Imagine Theatre), Will Brenton (Script Writer) and Steve Boden (Imagine Theatre) met in London recently to talk through how the scripting will integrate with the set and all the other exciting things we have up our sleeves!

The second big piece of news to share with you is that the script is well under way and our writer is confirmed. This is the last part of the project to fall into place.

We’re absolutely delighted to welcome Will Brenton on board as the writer of Cinderella. We’ve not said much yet about the technology integration within the show, but with his experience in theatre, arena shows, TV and panto script writing, Will became the obvious choice. Will has written many pantos for us and also directed and is currently working as a director on the TV show Emmerdale. We’re looking forward to receiving his first draft of this new version of the show.

The set build is well under way. The newly created Imagine Theatre Scenic Workshops, overseen by Dave Edmunds our Head of Operations, are working their magic to bring Mark Walter’s beautiful set designs to life. Imagine has always been able to build scenic elements - we’ve now just made the set up a little bigger. Things are progressing along well with the build, and we should have some photos to share with you soon but in the mean time there’s a sneak peak below. It’s possibly one of the most complex builds we’ve ever undertaken or worked on, whilst also being deceptively simple in its look. We can’t wait to share it with you!

A sneaky peak of some of the design currently being built, waiting to be painted and then used for… well we can’t tell you just yet! . We can’t tell you how beautiful the overall design is. It literally takes our breath away every single time we see it.

Dawn Outhwaite, Head of Wardrobe for Imagine Theatre, is overseeing the costume makes. Mark Walters costume designs compliment the set beautifully. We have a whole team working with Dawn to bring Mark’s vision to life. Dawn recently went fabric shopping with Mark, our designer. Here’s an idea of some of the fabric colours they chose, and she and the team are now working with.

The fabrics are so colourful and vibrant. We can’t wait to see them made up into the costumes.

So, we move onwards into September, and the venue is almost ready for its handover, the gala re-opening with Dame Judi Dench on Monday 16th September. It really is all go in Croydon!

A Beauty of a Cast for Eden Court’s Panto

Eden Court, Inverness are delighted to announce some familiar faces are returning for Beauty and the Beast this festive season.

Once more the cast will be headed up by the popular duo, panto dame Steven Wren and the hilarious Ross Allan. Chris O’Mara is also returning this year after proving a huge hit with audiences last year when he played the villainous Fleshcreep. New faces to the Eden Court panto stage are Christie Gowans as the title character, Beauty, with Rodney Matthew playing her father, Victoria Compson-Bradford as The Enchantress and Jamie Crockart as The Beast/Prince.

The partnership of Steven and Ross has proved a great hit with audiences over the last few years, and not only does Steven perform as dame but he also directs the panto. He says of their partnership:

“Working with Ross is a treat as he’s so inventive and so funny.  We bounce off each other really well and trust each other to go with whatever spontaneous thing happens in any particular performance so that the audience knows we’re improvising around the script, but he’s disciplined enough to come right back to the story as soon as we’ve got the laugh.  We're the same sort of performers in that regard and I feel relaxed and confident on the stage with him. As a writer and director, I love the way he plays around with ideas.  Every rehearsal is new.  He never repeats himself until we’ve decided on the best variation, and that’s the one that goes into the show.  he trusts me as a director and acting partner too and that’s crucial for the relationship to work as well as it does.”

“Eden Court is populated with the most adorable people to work with.  The encouragement and support I get from the staff is extraordinary.  So that makes it a complete event for the audience.  It’s not just about what we do on stage, but it’s what the restaurant, box office, bar staff and theatre ushers do that make it a total night out for everyone.  What’s surprised me over the years is the build-up of the audience.  Something like 36 000 people see the show, and some of them come back more than once.  It’s always a wee thrill when someone stops me in the street or in the supermarket and tells me how much they’ve enjoyed the panto (not sure how they recognise me out of make-up, but I’ll leave that aside for now). The best thing about it for the audience is that they get a full story told in a funny and entertaining way that makes 3 year olds and 93 year olds laugh and smile.  For many people, it sets the mood for Christmas and I'm delighted that we can be a part of that.”

Ross Allan has had a busy year so far as he recently performed in Aberdeen in A Midsummer Night’s Dream and is currently working at the Dundee Rep. He says:

“I agree with Steven about how wonderful the audience is. The people of Inverness have really made me feel special and welcome over the last six years there and it feels like a second home to me now going in to my seventh panto season. A special mention to everyone that works at Eden Court. They are all a very special bunch of people!”

Christie Gowans is very excited to be taking on the title role of Beauty. Beauty and the Beast has been my absolute favourite fairy tale for as long as I can remember (so much so I can quote the Disney film word for word!), and I think that’s because of its poignant and enduring messages of never judging a book by its cover, always embracing your uniqueness and the power of love! It also has so many wonderful characters that capture your heart, and I particularly love Belle for daring to stand out from the crowd and always standing up for what she believes in!” 

“Panto season is the most magical and laughter filled part of my year! I’m in the Christmas mood from the first day of rehearsal to the final show day, and I love seeing the joy that panto brings to everyone of all ages.” 

Chris O’Mara is relishing getting to be wicked again this Christmas season as he takes on the role of the arrogant Eugene. “I believe my character has a lot of similarities to Gaston from the Disney version and over the last year or so I've become a bit of a gym bunny, so Gaston and I are definitely kindred spirits in that sense. We both probably spend a little too long looking at ourselves in the mirror too...!”

Beauty and the Beast runs from Friday 6 December 2019 – Sunday 5 January 2020.

For more information or to book tickets call the Eden Court box office on 01463 234234 or visit the website www.eden-court.co.uk 

Magical Line Up for The Victoria Theatre Panto

The Victoria Theatre are delighted to announce their full principal line-up for the magical family friendly pantomime Beauty and the Beast.

Joining Dame Adam Stafford and comic Josh Benson are Jenny Perry in the title role of Beauty, Richard Anthony-Lloyd as Beauty’s father Cedric, Matthew Wellman as Eugene, Sam Willison as The Prince and Lydia Rose Bertie as The Enchantress.

Richard Anthony Lloyd hails from Yeadon in Leeds and has strong links to Halifax “I first got to know Halifax through rugby. From being smashed on a cold Sunday morning up at Ovenden playing Rugby League to playing Rugby Union for Keighley at every Halifax club over the last 15 years - it's always fun. Before embarking on the Calendar Girls tour which I have recently been in, I performed with the Halifax based theatre company Talking Stock touring with Godfrey's Last Summer playing at The Square Chapel Arts Centre in town. I have lots of friends who are active members of the theatre scene in Halifax and I was planning to direct Spamalot in the town until Calendar Girls came along. 

“I have always loved panto and the way it is so totally different to any other genre of theatre. I love the fact that every show is different and anything can happen at any time. It keeps us on our toes and is always loads of fun. I love the fact that you look the audience in the eye, break the fourth wall and ask them to participate with you in the storytelling. As a teacher I love the history behind panto as we know it and how it came about. Slapstick and panto were always my favourite units to teach!!”

Jenny has performed in a number of pantomimes, however this will be her first time playing Principal Girl.

“I have played everything else apart from principal girl as I have played principal boy, fairy and even villain (Wicked Witch of the West), but it’s my first time as a princess so I'm very happy to tick off the last box!”

“I love the story of Beauty and the Beast. Obviously the Disney films were a big success, but I also think it's one of the few pantos where the heroine takes control of her situation and doesn't need rescuing! She is strong-willed, clever and kind, which are characteristics everyone should aspire to have!”

Sam Willison played Prince Michael in last year’s production of Snow White and is delighted to be back and Beast/Prince for this year.

“My favourite part of performing at The Victoria Theatre last was the audiences we had. They were full of energy and loved to get involved in all the action! Also the front of house staff and crew that we were very lucky to have! They always had a smile on their face and made it a lovely place to work.”

Get your tickets now for this ‘beauty’ of a show! Beauty and the Beast runs from Saturday 14 December 2019 until Sunday 5 January 2020.

For more information or to book tickets please contact the Victoria Theatre box office on 01422 351158 or visit www.victoriatheatre.co.uk