Or, try writing an original story. This is hard, unless you've got a really good idea that'll make a good plot. You could adapt a classic adventure story: this had been done successfully with the likes of "Treasure Island" and "Robinson Crusoe", which like DW involve voyages to exotic lands. Western and space-age stories have also proved to be popular. One problem is that it is difficult for new characters to have an impact, so good characterisation is essential. The best source is undoubtedly eastern and oriental tales with their related themes of magic and mystery in an exotic setting. I would recommend "Sinbad the Sailor" if only because there are several different versions of it, and this gives the writer flexibility as well as a chance to exercise his/her imagination.
Don't forget your stock characters: Dame, villain, comedy duo, plus Principal Boy and Principal Girl. Build each character or pair into the plot, though each have their own routines. Dame and villain need to be particularly strong, especially the latter, who usually drives the action. There is a temptation to insert the Dame and comedy duo in separate slots, but this is to be resisted. Both should be integrated carefully into the plot.
Finally, a word about Principal Boys and Girls. Relationships between PB and PG should be modernised and lightened. Eliminate all mush, and have both as drivers of the action, not mere observers. Even if Principal Girls are doomed to be carried off by the villain, there should be vigorous, not token, resistance.
Top of pagePart 2 - putting pen to paper
This is the hard bit. The nitty gritty. It's time to bite the bullet and grasp the nettle. You've had ideas floating in your head for some time and you've got to get them down on paper, or key them in to your word processor. Which way doesn't matter. Different playwrights have different styles. One will write everything down in longhand and not go near a computer, while another will start typing right away. I prefer a bit of both.
The important thing is to start, to commit something to paper or disc. There will be many occasions when your inspiration will dry up totally. Walk away and clear your mind. But not for too long. Keep thinking about your plot and characters and their interaction. Remember that your characters drive the plot and not vice versa. When your inspiration/muse/flow comes, grasp it/her no matter where you are at the time! Get it down on paper/disc and don't let go till the flow ceases. It's a truly wonderful experience when it happens.
I believe wholeheartedly in plot. I'm convinced that audiences love a story. Even if they know it already, they like new twists and situations. Writing down an outline of your plot at this stage is invaluable. That's one way to start. Even if it's only the first act, or the first two or three scenes of the first act.
Or, write down a list of your characters. This can often be fun. Let your imagination run riot on comic names: dame, villain, comic duo, principal boy and girl etc. Keep thinking of the main plotline. The first act usually consists of three main scenes plus two connecting scenes played in front of tabs.
So, you've got your characters and some kind of plotline. Start writing! Don't hang around. Write down "Act 1 Scene 1" and set your scene. A typical opening scene would have the chorus singing a song followed by some interaction with a character or characters, for example the dame. It often has an announcement or some news. Don't bring all your characters on at once, but introduce them either singly or in pairs throughout the scene. In fact you should avoid having all your characters on at the one time except at the end or on especially dramatic occasions.
Here's an example from "Jack & The Beanstalk".
Act 1 Scene 1
Rose Cottage, Dame Jolly’s house, is situated R. It has a practical door, a small garden with a white fence, and a number of pot plants. C and L are woods and fields
The chorus of villagers is onstage for the opening number
Song 1: “Another Opening Another Show” (Chorus)
After the song, Dame Jolly appears in curlers from the front door of the cottage
VILLAGERS Hello, Dame Jolly!
DAME Come on, you lot, hop it. Vamoose. Skedaddle. You’re dirtying me doorstep and disturbing me peace. Haven’t you anything better to do? All these shenanininigans. And what a din! It’s worse than (local name) singing in his bath!
FIRST VILL What have you got your curlers on for, Dame Jolly?
DAME (preening herself) Well actually, I am beautificating myself for a special occasion.
SECOND VIL But Dame Jolly, do you really need the mudpack?
DAME (furiously) I am not wearing a mudpack!
She raises a fist at Second Villager
SECOND VIL Keep your shirt on, Dame Jolly. I was only joking.
FIRST VILL Yes, come on, tell us more.
VILLAGERS Yes etc.
DAME All right. Well, I’m having a party. I’ve invited the schoolmaster, Mr Chips, to tea. As you know, Mr Chips is a gentleman and a scholar and is known for his taste and refinery.
FIRST VILL Well, what is he coming to your place for, Dame Jolly?
DAME Sticks and stones to you, and sour grapevines! I’ve made a very special tea. Just wait till he samples my carte blanche.
SECOND VIL At least it’ll be quick and painless!
DAME Right. That’s it! I’ve had enough of your cheek. Out!
She chases them off with a broom
Part 1Part 2
Part 3 - make 'em laugh!
This is all about gags, gags, gags. Audiences come to a pantomime to laugh. Verbal and visual, they don't mind which. And they don't mind old gags. This is proved by the simple fact that they return year after year and laugh at the same gags.
For the writer, there are many sources of jokes. You can pick up books of jokes at a book shop. If you are wired in, try the Internet. Simply select a search engine (Google is one of the best) and enter "jokes" or "pantomime jokes". You will be amazed by what comes up. All categories of jokes: knock knock jokes, doctor doctor jokes, waiter jokes, the list is endless.
Having assembled a list, you must arrange them in themes, i.e. according to the situation or scene you happen to be writing. As you write your dialogue, try to give all your characters a fair crack of the whip, including fairies and principal boys and girls. Believe me, they will appreciate it. However, the bulk of the gags must go to your principal comedians, especially the dame and comic duos.
In pantomime of course, whole scenes are inserted which are not strictly relevant to the plot. Slapstick remains the essence of the genre. Wallpapering the parlour, kitchen and ghost scenes galore - what audience hasn't roared with laughter at them? An excellent source of sketches and comedy routines is "The Pantomime Book" by Paul Harris, published by Peter Owen. If you're going to use this source, my advice is - don't overdo it. Remember that you are creating something that is supposed to be unique, and not merely a collection of rehashed routines. You must above all inject a note of originality.
One or two other things matter. First, music. Choose your songs carefully. You may of course elect to omit a recommended list of songs, but most societies appreciate it. There is a vast amount of suitable music, ranging from the fifties to the present day. And even before the fifties. There are classic numbers available from the thirties, and I have used Edwardian and even Victorian music-hall songs in "Dick Whittington". Songs from the shows go down well, from Rodgers and Hammerstein to Lloyd Webber. Songs from "Annie" and "Oliver" were very popular in the nineties. And don't forget pop. Even if Queen or S Club Seven is not to your taste, your audience, most of whom are teen and pre-teen, will lap it up! Rock 'n Roll music remains perennially popular.
Secondly, don't forget your chorus, that bunch of much undervalued stalwarts without whom you could not have a panto. Try to keep them involved in the action, and don't have them standing around singing the odd song just for the sake of it. It requires great skill on the part of the playwright to integrate a chorus into the action, but it is very worthwhile.
To sum up, a pantomime is a blend of many things, but essentially of three - plot, characterisation and humour. The challenge for the playwright is to drive his/her characters from the beginning to the end of the plot in a humour-filled environment. Add spectacle, costumes and special effects, and you have what the customer has paid to see - the perfect panto.
Part 1Part 2
Part 3
