For one playwright, a visit to a classic pantomime proved to be a life-altering experience, reshaping her artistic perspective and career direction. The production in question was Vikki Stone's 'Aladdin' at the Lyric Hammersmith in London in 2021, staged in the poignant period just after the Covid-19 lockdowns.
A First Introduction to Panto Magic
Growing up in Harare, Zimbabwe, the writer had no childhood exposure to the uniquely British tradition of pantomime. Her first encounter came years later, through the eyes of her young nephew, Nicholas. Together, they attended a show at Stratford East, where the vibrant colours, cool spectacle, and communal joy of a family audience made a deep impression. This began a festive tradition that lasted until Nicholas reached his 'too cool' teenage years.
The writer was struck by the unique dynamic of a panto crowd, describing it as having a special "response-ability." Unlike conventional theatre, audiences are actively encouraged to participate, to shout warnings to the hero and boo the villain, creating a shared, disruptive, and wonderfully inclusive experience.
Post-Lockdown Catharsis at the Lyric
However, it was Stone's 2021 production of 'Aladdin' at the Lyric Hammersmith that delivered a profound revelation. Arriving after a period of immense strain and isolation, the show expertly lampooned the era's absurdities. It featured a Boris Johnson lookalike and hilariously skewered the madness of lockdown life and those daily press briefings.
The writer found the production to be a masterclass in cathartic release. It offered a "soothing joy" through its combination of music, dance, and unadulterated, bonkers laughter. Crucially, it felt accessible to all, providing a collective space to heal and reconnect through humour.
Celebrating Silliness and Shifting Trajectories
As a queer playwright from Zimbabwe who had focused on weighty subjects like Robert Mugabe and migration trauma, the experience was transformative. 'Aladdin' successfully changed the trajectory of her work. It allowed her to break free from being pigeonholed as solely a creator of "Black/African work" and gave her permission to embrace and celebrate her own inherent silliness.
She also noted a fascinating cultural connection. The synthesis of song, dance, and immediate audience reaction intrinsic to panto felt distinctly resonant with performance traditions in southern Africa. In her view, British panto is a rare mainstream stage form that captures this simultaneous, expressive blend of movement, music, and direct engagement.
The impact has come full circle. The writer has now co-written a new panto, 'Mama Goose,' with Vikki Stone, which features an "utterly African central dame." The production is running at the Theatre Royal Stratford East in London until 3 January. In a fitting close to the story, her nephew Nicholas, now a talented DJ, has his ticket. The tradition, and its inspiration, continue to resonate.
