Enduring appeal of Cork's pantos... there's still time to catch them

BOTH our major pantos here on Leeside are going great guns, and will continue until well into the month of January, 2024.

Cast and backstage staff at both the Opera House and Everyman had an extremely short break over Christmas and were back at their posts almost immediately, ensuring every packed house, matinee or evening show got a full and delightful performance.

If you’re in showbusiness, being on stage or backstage is part of the winter ritual. Indeed, great old Corkonian dames like Paddy Comerford or Billa Connell often said they couldn’t imagine going through these months without the ‘world within a world’ of panto.

It’s always been a major means of balancing budgets at theatres, with crowded houses practically guaranteed. It was always thus.

In the 19th century, huge venues of drama like Drury Lane in London depended desperately on the pantomime to make the money they needed to stage the more elegant Shakespeare or other dignified dramatists.

As technology advanced during the industrial revolution, panto became increasingly focused on elaborate set designs and incredible special effects. Trick scenery and fast scene changes were created with systems of hinged flaps of canvas painted on both sides that switched to reveal new settings; pivots, flying systems, and, most of all, a series of traps in the stage.

The ‘star trap’ , with men standing by to pull ropes sharply, made it possible for a demon or devil to shoot up dramatically - if dangerously - from below the stage, accompanied by green or red fire.

Sadler’s Wells (before it became the home of ballet) had water tanks to create rivers, fountains, waterfalls. Candles gave way to gaslight in 1817, and electricity was first at the Savoy in 1881. Ghostly fogs were created using coloured silk, gauze and glass.

The number of stage hands required for every performance was always far greater than the actual performers on stage.

Catherine Mahon-Buckley’s Beauty And The Beast at the Everyman this winter has spared no effort to create a magical show, as anyone who has seen it will agree. Although she wouldn’t care to try emulating the 1900 production of Sleeping Beauty and the Beast at Drury Lane, one of the most lavish (and expensive1) ever produced. Combining the stories of Beauty And The Beast and Sleeping Beauty, it featured twice the number of scenes, and had settings like the Haunted Vaults of the Palace, a Fairy Parliament and the Enchanted Crystal Garden.

The grand finale was a transformation scene by set designer Bruce ‘Sensation’ Smith which featured a grand staircase and numerous fountains. And of course lots of stage traps.

“Well, we don’t go to quite the same lengths as they did back then,” laughs Beth Cosgrove, stage manager for Jack And The Beanstalk at the Opera House.

“We do have a trap on stage, but it has been decommissioned for some years. And of course we don’t have a female principal boy any more.

“The glamour girl with legs up to her eyebrows, fishnet tights and stilt heels has now completely disappeared.

Beth’s job has to be one of the most demanding in the theatre, requiring her to be not only vigilant but absolutely on the ball for every single minute of every single show.

“I have to be familiar with everything, as much as any human being can.” said Beth.

“I have the book during the show with all the light cues, special effects, entrance for the baddie, etc.”

A happy New Year to all Theatre Nights readers! May 2024 be rewarding and satisfying.

We at The Echo will continue to bring you all that’s new and exciting in theatre news for our beloved city and county.