As Christmas lights emerge to bring some cheer to the long winter evenings, it seems we all fall into a certain mood for tradition. The festive season wouldn't be the festive season without indulging in the nostalgic events that have marked every year's festivities since we were young - decorating the Christmas tree, family dinner, opening presents, and, of course, once Christmas Day itself is past, the annual family outing to the Manoel to catch the pantomime.
There can be little argument that the annual MADC panto is the theatrical event of the year, drawing crowds to the Manoel that other stage productions can only dream of. Seasoned theatre-goers rub shoulders with people who wouldn't dream of setting foot in a theatre at any other time of year, the young and the old intermingle and - generally, at least - everyone has a good time.
This year MADC's offering, the 30th such annual production, is Pirates of the Mediterranean, directed by Nanette Brimmer and written by Edward Mercieca. The idea for the theme, I am told, came from Mr Mercieca's love for pirate stories - though, of course, a certain blockbuster film franchise starring Johnny Depp certainly acted as a source of inspiration. The title also reveals an attempt at bringing something new to the panto tradition.
"This year's panto is based, as usual, on well-known tales or novels," Ms Brimmer says. "The one difference is that this year we have taken the storyline from three sources instead of one." The idea is to create something new and fresh out of a combination of familiar elements and stories. "It would require quite a stretch of the imagination for the audience to try to figure out beforehand how the show will turn out when we've mixed together elements from Robinson Crusoe, Treasure Island and The Little Mermaid," Ms Brimmer continues.
"Jim Hawkins-Crusoe (played by Chiara Hyzler) sets out to find treasure, meets a mermaid (Jo Caruana) along the way and... will they live happily ever after?"
Ms Brimmer and Mr Mercieca are clearly passionate about the traditions so beloved of panto audiences, and Pirates of the Mediterranean will not stray far from the time-honoured formula. "The frame of a traditional pantomime is very simple," Ms Brimmer explains. "You have the storyline with its customary elements of heroes and villains (or goodies and baddies, as they are known in panto), and into that you weave the sometimes not-too-subtle threads of political satire and innuendoes. Add a sprinkling of double-entendre jokes for the adults and a dash of slapstick for the kiddies, mix with a generous dose of audience participation and coat with colourful costumes, souped-up song lyrics and lively dance numbers - and you have all the right ingredients for a perfect evening of family entertainment! Pirates of the Mediterranean follows this simple yet tried and tested recipe."
The underlying theme of the story, as in every panto, remains the age-old fable of good against evil. Mr Mercieca feels this is of primary importance to the panto's effect, and a major reason for its success. "It is essential that the good-versus-evil element is clearly brought out, and that good must always triumph over evil. The element of love and living happily ever after is, in my opinion, important to promote to kids. Too many horrid things happen in real life."
As is demonstrated by the atypical blending of multiple sources and storylines, however, there is also a conscious attempt to offer something new within the traditional structure. "The success of panto is its use of stock characters, routines and typical storylines," Mr Mercieca states. "However, that does not mean that new stuff cannot be used, or that tried and tested routines cannot be reworked."
Achieving the correct balance between the new and the old is not always easy. "Trying to be innovative and traditional at the same time seems to be a contradiction in itself," Ms Brimmer admits. Changing the formula can also prove to be a double-edged sword, as Ms Brimmer adds. "It never ceases to baffle me that audiences sometimes comment that the gags in panto are very much the same year in, year out - and yet, if you change them or omit them, these same audiences complain. The best solution, in my opinion, is to attempt to achieve a happy balance in the script whereby you aim to please the majority of your audience and ensure that the production is enjoyed by theatre-goers of all ages. As for being innovative, there is one scene in this year's panto which is particularly dear to me, but I shall not disclose anything about it.... I'm hoping this will be my 'element of surprise'!"
Ms Brimmer and Mr Mercieca are no strangers to the panto - Ms Brimmer was in fact in the cast of Cinderella, the first panto put up by the MADC in 1978. However, this is the first year they occupy the roles of director and writer. Ms Brimmer is confident the production will, in every way, live up to everything audiences have come to expect over the years. "The MADC always strives to bring the best to its audiences and no expense is spared to ensure the extravaganza that is now expected of us." She also has a talented and experienced team behind her that are more than up to the task. "The sets are once again in the very capable hands of Harry Borg, and Mro Paul Abela and Kristina Schranz have given their invaluable assistance as musical director and choreographer respectively."
Mr Mercieca is fulfilling a dual role in this year's production. Not only has he worked on the screenplay, he will also be playing the always-memorable, larger-than-life character of the Dame. Did he find himself, intentionally or otherwise, giving himself the choicest lines of dialogue? "I think, if anything, it verged towards the opposite. In fact there are other parts which I personally prefer. I made a very conscious effort to try to get as balanced a script as possible for both the principals and the chorus." He does, however, admit to enjoy taking on the role of such unrestrained characters as the Dame or the Villain - "they are both wonderful experiences and unique because of the wonderful rapport you as a performer build with the audience".
The process by which the panto is brought to the stage is a long and arduous one, as Ms Brimmer observes. "The work involved in bringing the annual panto to the stage is mind boggling! You start thinking about it almost a year in advance hoping that this will leave you with more time on your hands when production week looms closer. Think again!"
Ultimately, however, all the year's work will be evident on stage - after which, for the cast and crew, comes the well-deserved reward. "It's very tough having to put your life on hold for three months, but, in the end, we all know that the hard work each of us has put in will have been well worth the effort... and I will be going on a four-week holiday to recuperate once the final curtain comes down!"
There can be little argument that the annual MADC panto is the theatrical event of the year, drawing crowds to the Manoel that other stage productions can only dream of. Seasoned theatre-goers rub shoulders with people who wouldn't dream of setting foot in a theatre at any other time of year, the young and the old intermingle and - generally, at least - everyone has a good time.
This year MADC's offering, the 30th such annual production, is Pirates of the Mediterranean, directed by Nanette Brimmer and written by Edward Mercieca. The idea for the theme, I am told, came from Mr Mercieca's love for pirate stories - though, of course, a certain blockbuster film franchise starring Johnny Depp certainly acted as a source of inspiration. The title also reveals an attempt at bringing something new to the panto tradition.
"This year's panto is based, as usual, on well-known tales or novels," Ms Brimmer says. "The one difference is that this year we have taken the storyline from three sources instead of one." The idea is to create something new and fresh out of a combination of familiar elements and stories. "It would require quite a stretch of the imagination for the audience to try to figure out beforehand how the show will turn out when we've mixed together elements from Robinson Crusoe, Treasure Island and The Little Mermaid," Ms Brimmer continues.
"Jim Hawkins-Crusoe (played by Chiara Hyzler) sets out to find treasure, meets a mermaid (Jo Caruana) along the way and... will they live happily ever after?"
Ms Brimmer and Mr Mercieca are clearly passionate about the traditions so beloved of panto audiences, and Pirates of the Mediterranean will not stray far from the time-honoured formula. "The frame of a traditional pantomime is very simple," Ms Brimmer explains. "You have the storyline with its customary elements of heroes and villains (or goodies and baddies, as they are known in panto), and into that you weave the sometimes not-too-subtle threads of political satire and innuendoes. Add a sprinkling of double-entendre jokes for the adults and a dash of slapstick for the kiddies, mix with a generous dose of audience participation and coat with colourful costumes, souped-up song lyrics and lively dance numbers - and you have all the right ingredients for a perfect evening of family entertainment! Pirates of the Mediterranean follows this simple yet tried and tested recipe."
The underlying theme of the story, as in every panto, remains the age-old fable of good against evil. Mr Mercieca feels this is of primary importance to the panto's effect, and a major reason for its success. "It is essential that the good-versus-evil element is clearly brought out, and that good must always triumph over evil. The element of love and living happily ever after is, in my opinion, important to promote to kids. Too many horrid things happen in real life."
As is demonstrated by the atypical blending of multiple sources and storylines, however, there is also a conscious attempt to offer something new within the traditional structure. "The success of panto is its use of stock characters, routines and typical storylines," Mr Mercieca states. "However, that does not mean that new stuff cannot be used, or that tried and tested routines cannot be reworked."
Achieving the correct balance between the new and the old is not always easy. "Trying to be innovative and traditional at the same time seems to be a contradiction in itself," Ms Brimmer admits. Changing the formula can also prove to be a double-edged sword, as Ms Brimmer adds. "It never ceases to baffle me that audiences sometimes comment that the gags in panto are very much the same year in, year out - and yet, if you change them or omit them, these same audiences complain. The best solution, in my opinion, is to attempt to achieve a happy balance in the script whereby you aim to please the majority of your audience and ensure that the production is enjoyed by theatre-goers of all ages. As for being innovative, there is one scene in this year's panto which is particularly dear to me, but I shall not disclose anything about it.... I'm hoping this will be my 'element of surprise'!"
Ms Brimmer and Mr Mercieca are no strangers to the panto - Ms Brimmer was in fact in the cast of Cinderella, the first panto put up by the MADC in 1978. However, this is the first year they occupy the roles of director and writer. Ms Brimmer is confident the production will, in every way, live up to everything audiences have come to expect over the years. "The MADC always strives to bring the best to its audiences and no expense is spared to ensure the extravaganza that is now expected of us." She also has a talented and experienced team behind her that are more than up to the task. "The sets are once again in the very capable hands of Harry Borg, and Mro Paul Abela and Kristina Schranz have given their invaluable assistance as musical director and choreographer respectively."
Mr Mercieca is fulfilling a dual role in this year's production. Not only has he worked on the screenplay, he will also be playing the always-memorable, larger-than-life character of the Dame. Did he find himself, intentionally or otherwise, giving himself the choicest lines of dialogue? "I think, if anything, it verged towards the opposite. In fact there are other parts which I personally prefer. I made a very conscious effort to try to get as balanced a script as possible for both the principals and the chorus." He does, however, admit to enjoy taking on the role of such unrestrained characters as the Dame or the Villain - "they are both wonderful experiences and unique because of the wonderful rapport you as a performer build with the audience".
The process by which the panto is brought to the stage is a long and arduous one, as Ms Brimmer observes. "The work involved in bringing the annual panto to the stage is mind boggling! You start thinking about it almost a year in advance hoping that this will leave you with more time on your hands when production week looms closer. Think again!"
Ultimately, however, all the year's work will be evident on stage - after which, for the cast and crew, comes the well-deserved reward. "It's very tough having to put your life on hold for three months, but, in the end, we all know that the hard work each of us has put in will have been well worth the effort... and I will be going on a four-week holiday to recuperate once the final curtain comes down!"