Writing a Panto – Part One – Part Two – Part Three

First, choose your story or, make one up.

There are a dozen familiar storylines from Aladdin to Snow White & The Seven Dwarfs. The trouble is they’re too familiar. Let’s take an example.

Dick Whittington

There are simply no surprises in the plot of Dick Whittington, or in its characters. You are stuck with Alderman and Alice Fitzwarren, Dick and Tommy the cat, and Idle Jack and Sarah the cook. And King Rat. In Act 1, Dick arrives in London with cat, makes good, falls in love with Alice, and is framed by King Rat. In Act 2, he sails to Morocco, makes good, comes back a hero and marries Alice.

Don’t knock it!

As a panto plot, it’s perfect. DW has stood the test of time because it has all the ingredients. It’s the classic adventure story with two settings, the one familiar but colourful (mediaeval London), the other exotic (Morocco). Plus, there’s the mandatory fun scene on board the “Saucy Sal” with many an opportunity for nautical overacting. With the Highgate Hill scene, kitchen slapstick and a really villainous “baddy” as well, it’s no surprise that DW has remained a favourite with societies all over the UK.

For the writer, there are problems. It’s decidedly risky to tamper with such a plot and characters. The audience wants to hear Bow Bells, cat jokes and a Captain Birdseye accent. They want to see exotic dancers, slapstick in the galley and the shipwreck. Above all, they want to see King Rat utterly thrashed by Tommy the cat, and Dick return home to marry Alice.

So what’s left?

Slapstick is slapstick is slapstick. There may be other ways of throwing custard pies and putting water/foam down trousers, and you’re welcome to try. Likewise the “Bow Bells” and “slop arms” sequences; whatever you do, don’t leave them out!

What you’ve actually got left is dialogue and characterisation. Your actors like snappy dialogue to deliver and your audience want gags. They (the audience) don’t mind a few old chestnuts, but they appreciate something original. Actors hate playing mushy or boring characters, and without exception imagine themselves as comedians. They also like to be involved throughout the pantomime, so don’t leave them stranded for long periods. A good playwright should be able to plot the progress of any main character from beginning to end.

Writing an original story.

This is hard, unless you’ve got a really good idea that’ll make a good plot. You could adapt a classic adventure story: this had been done successfully with the likes of “Treasure Island” and “Robinson Crusoe”, which like DW involve voyages to exotic lands. Western and space-age stories have also proved to be popular. One problem is that it is difficult for new characters to have an impact, so good characterisation is essential. The best source is undoubtedly eastern and oriental tales with their related themes of magic and mystery in an exotic setting. I would recommend “Sinbad the Sailor” if only because there are several different versions of it, and this gives the writer flexibility as well as a chance to exercise his/her imagination.

Don’t forget your stock characters:

Dame, villain, comedy duo, plus Principal Boy and Principal Girl. Build each character or pair into the plot, though each have their own routines. Dame and villain need to be particularly strong, especially the latter, who usually drives the action. There is a temptation to insert the Dame and comedy duo in separate slots, but this is to be resisted. Both should be integrated carefully into the plot.

Finally, a word about Principal Boys and Girls. Relationships between PB and PG should be modernised and lightened. Eliminate all mush, and have both as drivers of the action, not mere observers. Even if Principal Girls are doomed to be carried off by the villain, there should be vigorous, not token, resistance.

Writing a Panto – Part One – Part Two – Part Three