Inside the demanding world of pantomime performers
The world of pantomime performers requires unique dedication, with actors like Christopher Biggins juggling multiple performances each week during the festive season. This year, Biggins stars in Robin Hood in Birmingham, a commitment that typically involves performing twelve shows weekly, reports BritPanorama.
Biggins, a veteran of this theatrical genre, notes that the average season lasts six to seven weeks, although he once performed for three months straight. “We were still singing It’s Beginning to Look a Lot Like Christmas at Easter,” he recalls. Keeping up with such a demanding schedule takes its toll: “I do love it. There is nothing like a pantomime. It’s just a joy,” he adds, while acknowledging the importance of self-care at 76 years of age.
The financial rewards also contribute to the appeal of pantomime. Biggins initially hesitated to accept a role in this format back in 1976, until he learned of the remuneration. “They said, ‘It’s £1000 a week,’ – a huge amount in those days – and so, yes, I did it for the money. But I’ve been doing it for love ever since.”
Most actors in the industry face uncertainties and competition, driving many to seek out pantomime roles for stability and a steady income. “Actors can look at pantomime as helping to pay their tax bill. Also, there is very little work at the beginning of the year; January is especially tough,” Bob Golding, who has portrayed the dame in his local St Albans theatre for 15 years, explains. He emphasizes that panto can offer reliable work along with the thrill of performance.
Over the years, pantomime has gained legitimacy, moving away from previous perceptions of it being a lesser art form. “After Ian McKellen did it [as Widow Twankey in the Old Vic’s production of Aladdin in 2004], suddenly everybody else thought: ‘Well, it must be OK,’” Biggins reflects, noting the shift in how established actors now regard these performances.
While a few big names can help to draw crowds, the heart of pantomime lies with the regular performers who form the ensemble cast. Golding, who has a diverse acting resume, acknowledges that despite aspirations, one’s career can often lead to unexpected opportunities like participating in pantomime.
The remuneration for principal roles can be significant, with earnings for a six-week run often ranging from £6,000 to £11,000. This can increase substantially for more seasoned performers. Last year, Alison Hammond reportedly earned £200,000 for her role in Peter Pan, while Katie Price received £50,000 for her appearance in Cinderella.
Veteran actress Lesley Joseph adds that the low-stress environment of pantomime allows for greater creativity. Despite sometimes facing mishaps, such as wardrobe failures on stage, she cherishes the experience for its joyful atmosphere and relaxed pace.
While pantomime is celebrated for its irreverence and fun, it is crucial that those involved approach it with the right mindset. Golding recalls past experiences with actors who entered the field without a true understanding of its culture, reflecting on how crucial it is to respect the art form. “You’ve got to put a shift in for panto, whoever you are,” he insists.
With actors like Biggins, Joseph, and Golding embodying the spirit of pantomime, it remains a cherished part of the British theatrical landscape, bringing joy during the holiday season.
