A Magical Transformation: How Pantomime Unlocked a World of Joy
Imagine a child's laughter, a pure and unfiltered joy that can light up a room. For me, that laughter was unlocked through the magic of pantomime, and it all began with a little boy named Nicholas.
Born and raised in Harare, Zimbabwe, I missed out on the traditional British panto experience during my childhood. It wasn't until years later, when Nicholas, my sister's son, discovered the wonder of pantomime, that I truly understood its allure. We attended a show at Stratford East, and the look on his face said it all. He was captivated by the vibrant colors, the coolness of it all, and the fact that his friends were there too.
"Panto audiences are unique," I realized. They have this incredible ability to engage and interact, disrupting the performance in the best way possible. As a kid, you feel empowered to guide the goodie, to help them make the right choices. It's a special kind of connection.
But here's where it gets truly transformative... Vikki Stone's production of Aladdin at the Lyric Hammersmith in London took my breath away. It was post-lockdown, and Vikki's take on the classic tale was nothing short of brilliant. She poked fun at everything, from the collective madness of those times to the press briefings that drove us all a little crazy. And let's not forget the Boris Johnson lookalike—a perfect panto addition!
Aladdin offered something special: a soothing joy, a release, and a chance to laugh hysterically with music and dance. It was a captivating experience, and it changed my perspective on what pantomime could achieve.
As someone who has worked with audience engagement, I was blown away by the skill and precision required to create that magical giddiness. The actors must be fully present, reading the audience's cues and reacting spontaneously. It's a delicate balance, and I believe it's a uniquely African art form.
In southern Africa, we express ourselves through song, dance, and acting all at once. Movement and music are integral to our culture, and I've found that panto is the only British tradition that truly captures this synthesis.
As a queer Zimbabwean writer, my work often explores themes of migration and the trauma it entails. But Aladdin pushed me beyond my comfort zone, allowing me to embrace my silliness and celebrate my precision. It took me out of the box, and for that, I am forever grateful.
And now, here we are, embracing an African central dame in Mama Goose, a panto I co-wrote with Vikki. Nicholas, now a talented DJ, will be in the audience, and I hope to make him proud. It's a full-circle moment, a testament to the power of pantomime.
Mama Goose is currently showing at Theatre Royal Stratford East, London, until 3 January. Don't miss out on this African-inspired panto magic!
P.S. What are your thoughts on the role of pantomime in preserving cultural traditions? Is there a similar art form in your culture that brings people together through laughter and music? I'd love to hear your stories and experiences in the comments below!
