Behind the Scenes 4: Producing a Pantomime

"The Babes in the Wood" at Drury Lane

The Drury Lane Theatre, under the management of Augustus Harris in the latter part of the 19th century, was famed for it's pantomimes which were produced annually on a lavish scale. Although the Drury Lane theatre already had a long history of producing pantomimes before the arrival of Harris in 1879, it was under his direction that it was to become pre-eminent in that area, regularly setting a standard that other establishments would struggle to follow. His pantomimes were always extravagant affairs, months in the planning with no expense spared. He had a great fondness for the old style harlequinade and always made it a feature of his productions, employing the top clowns and comedians of the day to get the best possible effects. He also decorated his pantomimes with sumptuous scenery, utilised expensive machinery to produce spectacular effects, and imported the top ranking, tried and tested favourites from the Music Halls as his Principal Boys and Dames. He was widely criticised at the time for vulgarising pantomime, but his visions were a great success with the public, and set a pattern that other producers would soon begin to follow - earning him the title of the "Father of Modern Pantomime".

When Harris died in 1896, his right-hand man, Arthur Collins, stepped into the breach and took up where his mentor had left off - raising the standards even higher, producing pantomimes with sensation piled upon sensation. Collins's pantomimes were also reknowned for being inordinately long as well as hugely expensive. His 1907 pantomime, "The Babes in the Wood," for example, was reckoned to have cost £20,000 - a staggering £1.7 million* at current day prices (2010).

Reproduced on this page are a collection of period articles concerning that 1907 production.

HOW I PRODUCE A PANTOMIME - BY ARTHUR COLLINS, MANAGING DIRECTOR OF THE THEATRE ROYAL, DRURY LANE
Preparing a £20,000 pantomime - THE WONDERFUL GIANTS AT DRURY LANE
DRURY LANE PANTOMIME - "BABES IN THE WOOD" - A SUMPTUOUS SHOW
PANTOMIME PROBLEM - HOW DRURY LANE SHOW WAS SHORTENED

(*calculated using http://www.thisismoney.co.uk/historic-inflation-calculator)

(Black and White [London, UK] - 28th December, 1907)
HOW I PRODUCE A PANTOMIME
BY ARTHUR COLLINS, MANAGING DIRECTOR OF THE THEATRE ROYAL, DRURY LANE

It is not particularly easy for me to describe how I get through my annual task of presenting to the children, their parents, and guardians, the Christmas pantomime which has for many years been looked for, and never found wanting, at Drury Lane on Boxing Night. Apart from my personal share in the modellers invention of each succeeding production, I have to hold so many threads woven by my assistants in the work, that a full and complete record of all they and I do to cater for the holiday public before the clown can say "Here we are again!" would require more space than the Editor could afford me.

Few of the patrons of the National Theatre during the Christmas holidays have any idea of the labour, to say nothing of the money, expended on a pantomime. As scene after scene is unfolded, tricks exhibited, songs sung, dialogue and jokes, more or less new and original, given off by the characters, ballets performed by the coryphees, dances by the comedians, and last, but not least, the catchy music composed and selected by the musical director, I have a strong suspicion that the majority of the adult portion of the audiences, if they were examined on the subject, would reply, like Topsy, that they "Specs they grow'd." Enough for them that there are topical hits, gorgeous scenery and dresses, with a well-known fairy tale for the children. They little think of the worries of the manager, who has been racking his brain how to go one better than the ten previous Christmas Annuals, so as to secure their patronage again, and the praise of the Press to the effect that "Mr. Collins has again surpassed himself."

"THE BABES IN THE WOOD" - One of Mr. John Hassall's artistic posters designed for the Drury Lane Pantomime.

The subject and title of a pantomime are generally settled about a year beforehand. For instance, when the curtain rises on Boxing Night I have already decided upon the Christmas Annual for next year. The major portion of the summer is taken up by consultations between myself and Messrs. Henry Emden, Bruce Smith, McCleery, H. Brooks, and other scenic artists, as regards scenery; Signor Comelli about costumes; the author as to the "book," and Mr. J. M. Glover, who is responsible for the music.

The scenic artists send built-up models about the size of the children's Theatre Royal back drawing-room of the various scenes they are commissioned to execute. These are all designed to scale with a perfection of detail rarely observed out of an architect's office. They are scanned day by day by me, and those finally selected for each scene will be presented to the audience on the first night of the pantomime.

In the same way Signor Comelli spends many months designing hundreds of costumes from suggestions made by me. The selected of these are in turn submitted to costumiers all over the world, but more especially in London, for estimates, only the most expensive materials being employed nowadays in pantomimes; dresses being very different to what they were twenty or thirty ago. Another important department is that of the "property" room, where masks and various models in papier mache, generalised under the term "properties," are manufactured by skilled modellers. Outside the theatre also far more elaborate "properties" are made by a firm that makes these articles a speciality. Other items are armour, swords, spears, etc., most of which are manufactured abroad. Electricity plays no small part in the production of pantomime, not only as regards the lighting of the scenes, but also as a motive power for some of the lifts which are used for the stage

It must also be borne in mind that the various inventions which come to the front during the year are frequently made use of in the pantomime. For instance, the motor car craze was caricatured in "The Sleeping Beauty and the Beast" (the King and Queen, by an ingenious arrangement of levers, being thrown out of a motor car when going at full speed across the stage); the airship in "Mother Goose"; and the submarine boat in "Humpty Dumpty." As to the cost of a pantomime, it still remains more or less at about £20,000, and is not likely to be reduced in the future.

Nowadays, indeed, with rivals springing up on every side, it is all the more necessary that the friends and patrons of Old Drury shall be given a show that cannot be equalled elsewhere. In my theatre I have never permitted any old stuff to be utilised either in the dresses, "properties," or scenery, as is the common custom in provincial pantomimes. Nothing but the best has ever been put on the stage at Drury Lane, and in proof of the excellent materials used, particularly in costumes, I may mention that frequently pantomimes, technically known as "productions," after serving here for thirteen weeks, mostly for two performances a day, have been sold to go abroad - America, Australia, France, etc., and have done duty for many months, sometimes years, and then not worn out.

On the other side of the ledger it is worthy of note that the public and the libraries subscribe more than the estimated cost of the pantomime many months before production in the shape of advance booking.

The number of persons employed at Drury Lane Theatre, on the stage and in front of the house, varies considerably; but during pantomime time the adults and children who are paid weekly salaries for the run of the piece rarely number less than one thousand. Prior to the production there are a number of rehearsals, and for many weeks there are two performances a day, consequently the children who are employed cannot go on with their schooling, but to avoid missing their examinations a School Board mistress has been appointed, who teaches them their lessons during the intervals. These children are evidently very bright scholars, for they are the recipients at the end of the season of several special prizes for diligence, punctuality, and good conduct.

Another item the public pay some attention to is the choice of the artistic poster with which I always endeavour to decorate the hoardings of the metropolis. There is no finer advertisement than a well-designed and humorous picture poster. Unfortunately there are very few artists who can combine a graceful fancy with humour. I congratulate myself that for the last few years I have been assisted in this way by Mr. John Hassall, the world-renowned artist. A rough sketch of mine has frequently led to a perfect work from his pencil.

(The Daily Mail [London, UK] - 19th December, 1907)
Preparing a £20,000 pantomime
THE WONDERFUL GIANTS AT DRURY LANE

Once upon a time - it was really not very many days ago, but when you are telling a story about enormous giants and tiny fairies, and dogs that talk and birds that dance, you must start with "once upon a time " - they began to make all those marvellous creatures and things which trill appear on the stage in "The Babes in the Wood" at Drury Lane Theatre.

It is a most mysterious place, that Drury Lane Theatre. If you could go behind the scenes there now you would be even more fascinated than you will be when you go to see the pantomime. For now they are making the wicked baron's castle and the magic forest, and they are teaching the giants how to dance the giants' dance, which is a most fearful dance, and teaching the fairies how to pirouette, while the talking beasts are practising the most awful grimaces and ear-waggings and tailwaggings, and the Babes, who will be lost in the magic wood, are trying over the most funny songs.

Building one of the 14-feet giants. In his hand is one of the huge sugar sticks to be used in "Lollipop Land"

THE BIRTHPLACE OF THE GIANTS

When the pantomime is produced you will see all these wonderful beings on the stage, but the stage is not the most interesting part of the theatre just now. These crowds of men and women in ordinary dress are being rehearsed by Mr. Arthur Collins in a great space where uncanny shadows flit to and fro, and bits of old scenery, survivals of "The Sins of Society," stick up forlornly here and there.

But from the obscurity above, below, and behind the stage come mysterious hammerings, shoutings, and stamping of many feet. The whole place is buzzing like a hive. Everybody is busy round that stage - busy making magic for the pantomime. There are many, many rooms half hidden in the dim shadows at the back of the theatre, and in every one strange things are happening.

If you want to know how grisly giants and ogres are made come first to that birthplace of pantomime horrors and delights - the property rooms. In one of them the magicians (they are called property hands in the theatre, but they are really magicians) are making giants' furniture, giants' hats, and giants' sweets.

The first thing that strikes you is a giant's baby chair. It looks like an ordinary baby's chair at first, and you wonder where those funny little pigmies who are working round it came from. Then you see that the little pigmies are fully grown men and the chair is over ten feet high.

At work on the "properties" at Drury Lane

All round the room things are in the same proportion, and after a little while you look round fearfully, expecting a giant to step out of a corner. Here are great hats three feet across and walking-sticks nine feet high, and here, a sight to make a greedy child scream with delight, are sweets so large that no one could possibly finish eating them. The chocolate fondants are over eighteen inches across and the sugar sticks six feet long. But the greedy boy who tried to bite one would be bitterly disappointed - the sweets, like the hats and other less substantial properties, are made of papier mache covered with plaster and painted.

But they will look real enough when they are put on the stage in the scene called "Lollipop Land," where the Babes will be consoled for having been lost in the wood.

INSIDE A GIANT

If you want to see the giants themselves, you must slip out of the theatre round to Theobalds Road. Here Mr. Labhardt, most famous of monster-makers for pantomimes, is making the enormous men and women who will stalk through the magic wood where the Babes are to be lost. They are truly terrifying monsters. The biggest giant is 14ft. high, and his face is so ugly it frightens you if you go close to him. His head measures 3ft. round, and his feet are over 18in. long.

His wife, the biggest giantess, is only a foot shorter, and her hat is so enormous that if she sat in front of you at an afternoon performance you would never see anything of the pantomime.

There is a row of strange figures in this property-room of Mr. Labhardt, and from the giant of 14ft. they grow smaller and smaller, until at the end of the row there is a figure only 4ft. high. And, mind you, every one of them, giants and midgets, will walk and talk. The giants and giantesses will be men walking on stilts, which, will be hidden by their clothes.

The biggest giant will have stilts over 8ft. high. His feet will be strapped to the top of ordinary stilts, and those enormous boots you will see are made, like his face, of papier mache and plaster. The midgets will be little girls.

Buster Brown and his dog "Tigs" will play pranks all through the pantomime at Drury Lane this year. The dog's head is now being made in this property-room, and it is a bit of the most marvellous magic. You pull one string and Tigs snarls and shows most dreadful teeth. You pull another string and he laughs; another and he wags his ears; another and he wags his eyebrows.

In another room at the theatre they are painting the wicked uncle's castle and part of the magic wood. The painters here look like the tiniest men, for the castle is fifty feet high, and it takes many pots of paint to paint it. A thousand people are at work on "The Babes in the Wood," and the pantomime will cost quite £20,000 to produce -probably more.

(The Daily Mail [London, UK] - 27th December, 1907)
DRURY LANE PANTOMIME
"BABES IN THE WOOD" - A SUMPTUOUS SHOW

When the doors of Drury Lane are flung open on Boxing Night, young and old, we enter robustious devotees - last night we issued - but, Avaunt, drab critic, who wants your sour and sallow meditation?

These are the children's times, and this, at Old Drury, is a children's pantomime. There it is, "Babes in the Wood," five hours of strenuous knock-about and pantaloonery, gaudy coruscation and foamy irisdescent drapery, the old quips and quiddities of the season, the big, noisy, pantomimic orchestra, the crackers, the giants, the full house, tempestuous youth and delighted age - the old, old pantomime again.

A grand crescendo overture begins the fun, up goes the curtain, and there we are in fairyland among "the parsley beds." Personally, I was rather disappointed. I like ogres to begin with, hobgoblins and monster geni and sheer "awful" illusion; but the fairies tripped it very prettily, and then the Babes begin their pantomimic cavalry. They are "duckie" childre - Reggie (Walter Passmore), Cissie (Miss Marie George), in the daintiest of baby frocks. And there is Fragson, the governess - he is a very funny person, and becomes at once a popular favourite. Tow other funny people are the Baron (Lennox Pawle) and the Baroness (Nell Kenyon), and, of course, there is the traditional human dog.

I think the dog had the "pip," or was I thinking of the acrobatic dog of the old days, who ran round the dress circle, stood on his tail, and was shot up ten feet in the air through a trapdoor? But this dog of Mr. Conquest was distinctly canine, though no doubt his day will come. Of course, the Babes skin him, put him in a bath, and fall into it themselves, and, of course, the whole house shouts with delight. Of course, Reggie plays diabole. I could not count the number of times the governess is knocked down. And as for Cissie, well as I have said, she is of the very daintiest. And now for the story.

A TRIPLE PLOT

This year's pantomime has a very full and complicated story; in fact, in this respect it is quite old-fashioned. It has a triple story - the Babes, Robin Hood, and the Old Woman in the Shoe, all in one. So that in the grand ballet of the "Harvest Home" dramatic complications begin. There is Maid Marian (Miss Madge Vincent), ever so pretty and cajoling, who has given her heart to Robin Hoodand is pursued by the wicked Lord Hugo. Mark Him! This gentleman has a bold alliterative name - (Miss Meredith Meredro) - some good top notes and a wonderful dimple.

Here, too, is Will Scarlet (Miss Florence Warde), all in red, the most betwitching outlaw imaginable. And then, with blast of horn, Robin Hood himself, quite a rival to Mr. Waller, and no wonder Maid Marian is in love with him, for, as first pantomime "boy," Miss Agnes Fraser is most "conducive"; while Friar Tuck, with conventional carbuncled face and a sesquipedality of belly, brandisheshis quarter-staff with histrionic gravity, most disturbing to the centre of other peoples.

The plot thickens: two robbers in the make-up of Caldecotts designs, entice the Babes into the wood and unfold the wonders of the Lane's pantomime stagecraft.

The Babes are seized by rabbits - delightful coryphees these, in skins and tails, who of course execute a rabbit dance. But they are wicked rabbits, and imprison the Babes, and things look serious until King Ferret effects a pretty ballet rescue. Then Ferrets and Rabbits dance together. But the Babes are not yet "out of the wood."' They are now in Giant Land. The dance of Giants, performed by the Pender troupe, is gigantic, very droll and unearthly, with a good old pantomime lilt to enforce the thrill.

Then they get lost in "the Berries" and finally fall asleep in the "Garden of Life and Light," under the protective wand of a dear little fairy. This is a beautiful scene. Here the stage mechanician gets his chance. Colour succeeds' colour; rabbits, bats flutter here and there; trees, great oaks, wander about the stage; stars come out and twinkle; wonderful astral effects appear in the sky; will-o'-the-wisps perform cake-walks; fairies float, descend, dance, and reascend; tbe whole air is a ballet, the whole thing is a marvel of magic fern and forest pantomime lore. And then Time is seen on the rocks holding his scythe over a sleeping fairy, and then again it changes, and night performs its multitudious shadow tricks and fancies, and then dawn begins to creep up over the line in golden manifestation. The moon is a sleeping beauty, the music is the famous Hoffmann Barcarolle, and the very sun rises dancing info the heavens, and when it reaches the zenith the curtain falls, and we have ten minutes to recover in.

LOLLIPOP BALLET

After the interval we are in "Lollipop Land." There is a grand lollipop ballet and a grand procession of sweets. They are dancing girls, of course, but not less sweet to look at, and after that there is the inevitable reaction, with wild, forest happenings. The Babes are imprisoned by the Old Woman in the Shoe. Robin Hood and his men to the rescue, of course. But even he cannot kill the old witch. Up she flies on a broomstick, right up to Drury's loftiest heights, and finally goes bang through the sun in in smoke and explosion. Truly a weird ride that. Then the robbers fight a serio-comic duel, horribly blood curdling and delightful. Then, I think , alliterative Hugo abducts Maid Marian, and away we go to "The Castle Ramparts."

The Dog, the Governess, and the Baron have a deep-laid serenading plot, and now Fragson gets his chance. A piano is brought in and Fragson gives us some of his famous French songs. The inevitable cornet-man follows; there is some wild knock-about business, and then Robin storms the castle. Has anyone any doubts as to the result? Of course, down falls the drawbridge, the walls are scaled, and captive Marian appears in the arms of Robin, and then there is a duel and general choral jubilation.

The end we can all guess. In pantomimes only the good are rewarded. Every Jack gets his Jill. Certainly, we get our fill, and the last scene is a gorgeous spectacular effect of "Good Luck."

It is a children's, and rather a democratic, pantomime Of course, it is too long, too massive, and will go much better in a week or so, when compressed and other songs and "gags" are introduced. But has the topical song gone out of fashion? Only one allusion to Tariff Reform, so far as I can remember; nothing about the Suffragettes, not much even about the Druce case, and only one reference to the "little brown dog!"

All the men are very pretty, and all the girls very funny - with true pantomime topsy-turvydom - and the scenery is really beautiful. The dresses are exquisite, and so are many of their wearers. It is a sumptuous show. If I do not say it is the bast pantomime I ever saw perhaps it is because the clown hit me on the nose with a cracker.

Oh, I almost forgot the harlequinade! Well, Joey. Joey is above all criticism. He is himself immortal. Besides, I always wished to be a harlequin and tbe Columbine danced seraphically. As for the policeman, he got his annual Christmas deserts.

A. H.