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A fascinating history of theatre told through the story of Britain's first ever pantomime clown
Of all the theatrical genres most prized by the Victorians, pantomime is the only one to have survived continuously into the twenty-first century. It remains as true today as it was in the 1830s, that a visit to the pantomime constitutes the first theatrical experience of most children and now, as then, a successful pantomime season is the key to the financial health of most theatres. Everyone went to the pantomime, from Queen Victoria and the royal family to the humblest of her subjects. It appealed equally to West End and East End, to London and the provinces, to both sexes and all ages. Many Victorian luminaries were devotees of the pantomime, notably among them John Ruskin, Charles Dickens, Lewis Carroll and W.E. Gladstone. In this vivid and evocative account of the Victorian pantomime, Jeffrey Richards examines the potent combination of slapstick, spectacle and subversion that ensured the enduring popularity of the form. The secret of its success, he argues, was its continual evolution. It acted as an accurate cultural barometer of its times, directly reflecting current attitudes, beliefs and preoccupations, and it kept up a flow of instantly recognisable topical allusions to political rows, fashion fads, technological triumphs, wars and revolutions, and society scandals. Richards assesses throughout the contribution of writers, producers, designers and stars to the success of the pantomime in its golden age. This book is a treat as rich and appetizing as turkey, mince pies and plum pudding.
From the Sunday Times bestselling author of Seven Devils 'A fantastical, richly drawn, poignant take on a classic coming-of-age story' – Leigh Bardugo In a land of lost wonders, the past is stirring once more . . . Gene's life resembles a debutante's dream. Yet she hides a secret that would see her shunned by the nobility. Gene is both male and female. Then she displays unwanted magical abilities - last seen in mysterious beings from an almost-forgotten age. Matters escalate further when her parents plan a devastating betrayal, so she flees home, dressed as a boy. The city beyond contains glowing glass relics from a lost civilization. They call to her, but she wants freedom not mysteries. So, reinvented as 'Micah Grey', Gene joins the circus. As an aerialist, she discovers the joy of flight - but the circus has a dark side. She's also plagued by visions foretelling danger. A storm is howling in from the past, but will she heed its roar? 'A lyrical, stunningly written debut novel' – Amy Alward
This book offers perhaps the most comprehensive history of pantomime ever written. No other book so thoroughly examines the varieties of pantomimic performance from the early Roman Empire, when the term “pantomime” came into use, until the present. After thoroughly examining the complexities and startlingly imaginative performance strategies of Roman pantomime, the author identifies the peculiar political circumstances that revived and shaped pantomime in France and Austria in the eighteenth century, leading to the Pierrot obsession in the nineteenth century. Modernist aesthetics awakened a huge, highly diverse fascination with pantomime. The book explores an extraordinary variety of modernist and postmodern approaches to pantomime in Germany, Austria, France, numerous countries of Eastern Europe, Russia, Scandinavia, Spain, Belgium, The Netherlands, Chile, England, and The United States. Making use of many performance and historical documents never before included in pantomime histories, the book also discusses pantomime’s messy relation to dance, its peculiar uses of music, its “modernization” through silent film aesthetics, and the extent to which writers, performers, or directors are “authors” of pantomimes. Just as importantly, the book explains why, more than any other performance medium, pantomime allows the spectator to see the body as the agent of narrative action.
This book reappraises Dickens's Memoirs of Joseph Grimaldi and his imaginative engagement with its principal protagonist.
One of the few studies covering the historical flow of mime from its beginnings to postmodern movement theatre, this book explores the evolution of mime and pantomime from the Greeks to the 20th Century, depicting the role of mime in dance, clowning, the cinema, and verbal theatre throughout the centuries. With over sixty illustrations, this worldwide study is indispensable for the student, teacher, or fan of mime.
Of all the theatrical genres most prized by the Victorians, pantomime is the only one to have survived continuously into the twenty-first century. It remains as true today as it was in the 1830s, that a visit to the pantomime constitutes the first theatrical experience of most children and now, as then, a successful pantomime season is the key to the financial health of most theatres. Everyone went to the pantomime, from Queen Victoria and the royal family to the humblest of her subjects. It appealed equally to West End and East End, to London and the provinces, to both sexes and all ages. Many Victorian luminaries were devotees of the pantomime, notably among them John Ruskin, Charles Dickens, Lewis Carroll and W.E. Gladstone. In this vivid and evocative account of the Victorian pantomime, Jeffrey Richards examines the potent combination of slapstick, spectacle and subversion that ensured the enduring popularity of the form. The secret of its success, he argues, was its continual evolution. It acted as an accurate cultural barometer of its times, directly reflecting current attitudes, beliefs and preoccupations, and it kept up a flow of instantly recognisable topical allusions to political rows, fashion fads, technological triumphs, wars and revolutions, and society scandals. Richards assesses throughout the contribution of writers, producers, designers and stars to the success of the pantomime in its golden age. This book is a treat as rich and appetizing as turkey, mince pies and plum pudding.