Panto: A Lifeline for Actors in the Winter Season
A single song can strike fear into the hearts of actors during the winter season. Actress Alicia Belgarde shares her experience, saying, 'I've got so many friends in different pantos across the UK, and we're all curious about each other's song choices, especially the chart-topping K-pop hit, Golden from Demon Hunters.'
Despite her avoidance of the challenging solo in that K-pop song, Alicia remains a dedicated fan of panto. She appreciates the festive spirit and the opportunity to learn from seasoned performers who have honed their craft in multiple pantos. 'It's a real skill, and you learn from the best,' she says.
Alicia is bringing Aurora to life in the stage adaptation of Sleeping Beauty, produced by Central Theatre in Chatham this festive season. The UK Pantomime Association reveals that approximately 260 pantos are scheduled across the UK this year.
However, the world of panto is not without its challenges. Alicia notes that roles are highly sought-after, even for actors with other commitments. During her break from waiting for true love's kiss, she plays Monica Geller in the UK tour of the Friends musical parody. She explains, 'I was fortunate to find a panto that aligned with my schedule, as it provided an income during the Christmas period.'
Simon Sladen, chair of the UK Pantomime Association, a charity dedicated to promoting panto, confirms that securing work in panto is not uncommon. He states, 'Panto is the one time of the year when you can guarantee employment, especially if you've performed at the same venue for consecutive years.'
Between November and January, a quarter of the year, actors can find themselves in a beloved profession, bringing joy and entertainment to audiences. While fame may lead to higher earnings, ensemble members still have work to do.
Equity and other unions are actively working to protect the rights of performers. Simon emphasizes, 'Not every panto offers an Equity standard contract, so there are considerations to be made to ensure fair treatment and compensation for employees in the industry.'
Despite the competition, panto remains a desirable opportunity. Simon attributes this to its respect and high quality, attracting more actors. It also serves as a platform for skill development and building a public profile.
Alicia views panto as a learning experience, observing and absorbing skills from her experienced colleagues. She describes it as a 'pressure cooker' due to the tight schedules and short runs, fostering quick relationships and bonds among cast members.
Panto's popularity has soared post-pandemic, with impressive box office statistics. Simon suggests that the current generation may require panto more than ever. Despite its 16th-century origins, panto continues to evolve.
The traditional cheesy jokes and fabulous dames persist, but panto is embracing diversity. Simon highlights the inclusion of queer narratives and characters, as well as increased racial diversity and representation of UK values.
Alicia concludes, 'It's a pressure cooker, but in the best way possible. You build relationships and bonds quickly, and it's wonderful to do so during the festive Christmas period.'
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