Putting on Panto to Pay for the Pinter by Chris Abbott (review)

Since repertory pantomime is very different from the commercial form this book is a useful corrective to the impression that all pantomimes are similar. It documents the pantomimes produced at one repertory theatre in Salisbury from 1955 to 1985, during a period of investment in theatre stock and growth in regional theatre attendance. The new Salisbury Playhouse was built during the period covered by this book. An era of weekly rep when performers were booked for complete seasons to “play as cast” is illustrated in photographs, excerpts from scripts and interviews, and the complete gag book is appended. This combination allows the reader to derive an understanding of the experience of working as an actor at the time.

The book is less effective in debating the issues it raises. Abbott first outlines the pedigree of the core group, including Oliver Gordon and Henry Marshall, who established the pantomime tradition at Salisbury, before identifying how performers were employed at Salisbury and then moved on elsewhere, sharing and spreading the practices even as pantomimes were slowly transforming in response to changing external circumstances. However, by documenting each pantomime chronologically this process is implied rather than highlighted. Equally, the process of moving up through the ranks from assistant stage manager to performing a role, and perhaps ending up as a director or Dame is documented, but the mentoring or apprenticeship process, and its importance, are not really highlighted. Nor is the decision to employ male or female principal boys in different years explored.

The title of the book implies there will be a materialist framework based on the costs, income and consequent value of pantomime. I am aware that when I was musical director for the 1987 pantomime, Salisbury Playhouse was hugely successful and recorded a phenomenally high box office. However, this approach is not maintained in the majority of the book, rendering the title somewhat irrelevant. What does become very clear, however, is that there was a strong sense of family among the performers – a feeling perhaps engendered by the cold, cramped and difficult conditions in the old theatre (which are repeatedly recalled). The difference when the company moved to the new building is mentioned, but no detailed assessment offered of how that affected the performance or performers. As such, what I read here confirmed many of my own memories, but I was also frustrated by the missed opportunity to draw more from the wealth of material presented.

This is a useful book because it documents a particular time and place through the voices of the people who experienced them and that is informative despite the repetitive structure. It documents a very particular moment of transition in British theatre and pantomime history.