Sonia Jalaly: The top six things I love about panto
Published: Wednesday 4th January 2023
Sonia Jalaly has co-written the Lyric Hammersmith Theatre's Jack and the Beanstalk show with Jude Christian. Here she talks about her love of pantomime...
I've written my first panto and now it's all I want to do. I am obsessed. So in honour of my new favourite thing in the world, here are six things I love about panto: (I was going to do five but I thought of six and I couldn't get rid of one).
Camp
A friend recently asked me to define what camp is. Cue existential crisis. "Ermmm it's like the really trivial, everyday bits of being a human but heightened? It's both knowing and not knowing at the same time? It's the everyday plus the unexpected multiplied by daft?!" Whatever camp is, panto is camp. And I love it.
Kids
Kids are the best audience you can get. They're like drunk audiences but more invested and (marginally) less abusive. If something's funny they will scream and laugh. If something's moving they will scream cry. Basically, if it's a good show, they will scream and laugh from start to finish and make it very clear you have done a good job.
One of my favourite moments in Jack and the Beanstalk (showing at the Lyric Hammersmith Theatre until 7th January) is the end of the first act when (with the help of some very clever stage trickery) the beanstalk magically appears in front of our eyes. The best seat in the house for this moment is on stage, with the band, looking out at the faces of pure joy. Everyone, even the biggest scrooge of an adult in the audience, is seven years old in that moment.
Christmas
Christmas is like gin. I love it but also it makes me depressed. Ho Ho Ho! So to anyone who also suffers from the festive fear, I prescribe singing, dancing and screaming, "it's behind you" like you're seven years old again. It really is the perfect December dopamine hit.
Naughty
Panto is the stage play's naughty little sister. It's rude, unpredictable and much more popular than its serious older sibling. In a world where children are told to be quiet, be good and follow the rules, panto does what it wants and so its audiences do the same. Unfortunately for writers, no matter how funny a script is, there is nothing funnier than an actor corpsing or a child heckling because things going wrong, often feels so right.
Tradition
Some people worry that panto isn't for them because they don't like racism, misogyny, homophobia, transphobia and Christopher Biggins. And fair enough. I don't either. But racism, misogyny, homophobia, transphobia and Christopher Biggins aren't what makes a show a panto. Brilliant, funny and inclusive pantos at the Lyric Hammersmith, Hackney Empire and Stratford East have been reclaiming this tradition and proving that's not the case for years. And long may they continue. We don't have many British traditions left aside from passive aggression and binge drinking. A bit of "oh no it isn't, oh yes it is!" is a nice one to keep alive, I think.
Hope
In the same way panto can evolve with the times, panto can help us evolve. It can show little girls they can be heroes, it can show little boys they can be sensitive, it can show us all that gender isn't binary and you can learn to be, and love yourself. It can teach children about love, friendship, bravery, fear, success and failure and it can make them laugh at the same time. The last few years have been globally grim to say the least, so thank you panto for shining a light on the best of humanity and giving us a bit of hope.
Help us publish more great content by becoming a BCG Supporter. You'll be backing our mission to champion, celebrate and promote British comedy in all its forms: past, present and future.
We understand times are tough, but if you believe in the power of laughter we'd be honoured to have you join us. Advertising doesn't cover our costs, so every single donation matters and is put to good use. Thank you.
Love comedy? Find out more