From politics to current affairs and things that went viral, it is time to put those satire glasses on as panto and comedy season hits our theatres. Ramona Depares catches up with the scriptwriters behind some of this year’s local productions.

The cast of Pinocchio, The Panto.The cast of Pinocchio, The Panto.

Who: Edward Mercieca
What: Pinocchio, The Panto, by FM Productions
Where: The Manoel Theatre, Valletta
When: Between Tuesday and January 4
Tickets: www.teatrumanoel.com.mt

“The basic story is that of the classic fairy tale of Pinocchio, but obviously it is adapted for panto. So in comes a dame, an evil sorceress, a principal boy, a princess and some padding to Geppetto’s family.

The original characters from Pinocchio are still there. There are also jokes, chases, funny walks, call backs, kids on stage, adults on stage, messes, singing and dancing and, of course, a good dose of political satire.”

How would you describe your style of humour?

My humour is very much based on the British style of humour, mixed with a dose of the wicked Maltese style.

What makes good comedy?

Wit, intelligence and timing.

Who are your own favourite comedians?

Morecambe & Wise, The Two Ronnies and Benny Hill for slapstick.

What kind of humour do you find difficult to get?

Coarse, violent, humour. I hated Little Britain, I just don’t get it.

How do you keep it fresh?

It all depends on how you play it. You have to play it like it’s the first time you are doing a routine.

You tend to turn everyday occurrences – which many may overlook – into witty observations. What is it about these everyday activities that makes you think they could work in a sketch?

Well, it’s all about looking at the funny side of life. Remember that even in tragedy there is comedy – it’s a very fine line. Ultimately, it’s a gut feeling, I guess.

How far is too far when it comes to joking?

I find certain topics un-touchable: child abuse, physical and mental illness, human tragedies. The only leeway I give to mocking physical appearance is fat and bald and that’s because I am both of these. And even then, I reserve it for men mostly. I don’t think it’s funny to mock a woman’s physical appearance.

Tell us about that one time a joke of yours fell flat.

I honestly cannot remember, not because it has never happened, but because my memory isn’t what it used to be.

Which is your favourite comedy show?

Friends, Only Fools and Horses and comedy game shows like Mock The Week, Would I lie To You and Never Mind The Buzzcocks.

What did you want to be when you were a kid?

A doctor, like my dad.

What can we expect from you this year?

More of humour, more physicality, more political satire.

Give us your best two-liner.

Why was six afraid of seven? ‘Cos seven, eight, nine.

Does your script leave room for improv on stage?

Panto always has some improv by virtue of its nature. But improv only makes up a very small part of the script. The rest is heavily rehearsed and made to look as natural and as spontaneous as possible.

Merry Poppins.Merry Poppins.

Who: Malcolm Galea
What: Merry Poppins, by MADC
Where: The Malta Fairs and Conferences Centre, Ta’ Qali
When: Running till January 4
Tickets: www.madc.com.mt

“I wrote the script and directed an awesome cast headed by Alan Montanaro in the title role. Tickets have been selling at a record rate and if people can try and get their hands on them it would be well-worth the effort.”

How would you describe your style of humour?

With a mock-serious facial expression and a wry tone.

What makes good comedy?

It needs to be funny. You’ll know if it’s funny because people will laugh. If the audience laughs, then congratulations – you’ve created good comedy. If nobody laughs (or only the easily-amused people do) then what you’ve created is a waste of everyone’s time. However, making people spend money to have their time wasted is a form of comedy in itself, so I guess congratulations again.

Who are your own favourite comedians?

They vary all the time. Right now it’s Hannibal Buress, Celia Pacquola and John Mulaney. A month ago I did a warm-up set in Washington DC for the stand-up comedian Tony Woods. He’s not hugely popular, but he’s been touring for a long time and he was amazing.

What kind of humour do you find it difficult to get?

I rarely laugh at staged slapstick, unless the timing is split-second perfect. Unintentional slapstick, on the other hand is a guilty pleasure.

How do you keep it fresh?

It generally helps to actually write your own jokes rather than adapting and editing (i.e. ripping off) material that you find online. With the exception of the music (for which the MADC pays royalties), everything in the show is 100 per cent original.

You tend to turn everyday occurrences – which many may overlook – into witty observations. What is it about these everyday activities that makes you think they could work in a sketch?

It mostly boils down to people taking themselves too seriously. It’s no fun to laugh at people who are already laughing at themselves. Most people spend their days and energy doing things that are gloriously futile in their own way. Once you understand that, the world becomes a pretty funny place.

How far is too far when it comes to joking?

I don’t believe that some subjects are untouchable when it comes to humour. With the right audience, context and tone, you can get away with anything.

Obviously panto is a very specific audience and context so you have your limits. I like exploring to see how far we can go though.

Tell us about that one time a joke of yours fell flat.

It’s been known to happen. Usually I’d just scrap it and try something else, but in last year’s pantomime there was an instance when I wasn’t able to. I like to throw in some references to viral videos and last year there was this song about a fox.

I had a costume made, a guy chosen to play the fox with considerable zeal and, before I knew it, resources had been spent and the joke was committed. As it turns out, I had overestimated the popularity of the video among the Maltese and, every time this fox burst into a chorus of “wa-pa-pa-pa-paws”, it was met with bemused looks night after night. And silence.

Which is your favourite comedy show?

I enjoy sitcoms mostly, but I don’t have a favourite.

What did you want to be when you were a kid?

The person who sings the song at the end of Italian cartoons. I was an odd child.

What can we expect from you this year?

This is my sixth panto script and every year I try to outdo the one before. Last year’s Little Red Riding Hood and You Know Who at the Manoel Theatre will be a tough act to follow, but this year’s effort at the MFCC should make a pretty good go of it.

Give us your best two-liner.

From panto: My suggestion was a bit like my ex-girlfriend. Didn’t go down well.

Does your script leave room for improv on stage?

I certainly encouraged a lot of improv in the rehearsal stage and the results have been great.

The cast is also trained to improvise over missed lines. However, with the occasional exception of the dame when communicating directly with the audience, I discourage deliberate improv during the performances themselves since it will interfere with the flow and tightness of the show.

12 Months of Funny.12 Months of Funny.

Who: Chris Dingli
What: 12 Months of Funny, by the Comedy Knights.
Where: Salesian Theatre, Sliema
When: Between Friday and January 3
Tickets: www.ticketline.com.mt

“It’s an original, topical, satirical sketch show that pokes fun at the year gone past. It’s fun, funny and purely for adults. It basically contains all the jokes that adults find funny in a panto, without the fairytale storyline.”

How would you describe your style of humour?

I tend to veer towards a more traditional sense of humour. From the puns and play on words of the Marx Brothers and Mel Brooks to the physical comedy of Buster Keaton, Laurel and Hardy and Charlie Chaplin.

What makes good comedy?

Obviously, it’s got to make people laugh. That’s the baseline. Anything above that is completely subjective and personal.

Who are your own favourite comedians?

Monty Python, without a doubt. They were a huge influence on me when I was younger and still are, to an extent. Locally, I think Malcolm Galea is very funny.

What kind of humour do you find it difficult to get?

I get most types of humour, even if they’re not to my personal taste.

How do you keep it fresh?

By not repeating myself and not copying other people.

You tend to turn everyday occurrences – which many may overlook – into witty observations. What is it about these everyday activities that makes you think they could work in a sketch?

It’s about getting into a certain frame of mind. I compare it to wearing tinted sunglasses, only these contain a comedy filter that allows you to see the funny side of things. It can be quite cathartic, especially if you’re angry and raging about something. Most things that make people angry can also be extremely funny. You just need to step back and see the flip side.

How far is too far when it comes to joking?

When nobody is laughing any more. I suppose that’s when you’ve gone too far.

Tell us about that one time a joke of yours fell flat.

It didn’t exactly fall flat, it wasn’t given the chance to be told properly. I was playing a Dame in the MADC Panto Cinderella 10 years ago. In the kiddies’ scene, I asked a young boy a deliberately complicated political question. He naturally wasn’t able to answer it and the punchline of the joke was that he shouldn’t worry, because not even the prime minister could answer that one.

I almost never got to the punchline. No sooner did I ask him the question, that the audience (starting, I suspect, with his parents) began booing. 500 people booing as loudly as they could. When they’d all calmed down, I managed to tell the punchline. It got a laugh, but the timing of the joke was ruined and so it didn’t work as well. See? That’s how much a joke means to me – I still remember it a decade later.

Which is your favourite comedy show?

Monty Python and Fawlty Towers.

What did you want to be when you were a kid?

An astronaut. I still think it’s an awesome job.

Give us your best two-liner.

I just got a job as a ministerial driver. I’m not very good at parking, but I’ll give it a shot.

Does your script leave room for improv on stage?

Some sketches do, particularly monologues. However, most sketches are carefully written and the jokes are meticulously constructed, meaning they must be spoken word for word to get the biggest possible laugh. It’s all about timing and precision in these sketches. There isn’t time to muck about.

Sindyrella u l-Bestja.Sindyrella u l-Bestja.

Who: Brian Farrugia
What: Sindyrella u l-Bestja, by Kumpanija Teatru Rjal
Where: Catholic Institute, Floriana
When: Between today and January 4
Tickets: www.kumpanijateatrurjal.com

“There was once a beauty called Sindyrella, a beast and, of course, a dame... whose stories get retold by the Fairy Tinker Bell. But how does Snow White come into the whole story? And what about Sindyrella’s BFFs Sleeping Beauty and Rapunzel? And their River of Love?”

How would you describe your style of humour?

For me it all depends on the way the joke is delivered, though I have to say I’m not fond of double-entendres and vulgar jokes.

What makes good comedy?

Making people laugh is not easy, you need real talent. A comedian is usually born, not made.

Who are your own favourite comedians?

I love Norman Wisdom’s simplicity. Unfortunately, he doesn’t really go down too well in today’s world.

What kind of humour do you find difficult to get?

Over the top jokes.

How far is too far when it comes to joking?

There is a limit to everything. It’s good to find the hum-our in different situations but one should never exceed this limit.

Which is your favourite comedy show?

A simple kind of comedy that creates laughter around specific situations.

The old school scripts are the best.

What can we expect from you this year?

The fruits of a whole year’s effort. Three hours of laughter, spectacular costumes, fun scenery, good lighting... a truly good family show.

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