The Origin of the Christmas Panto Tradition
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On December 8-9, 14-16, and 21-23 at 7:00 p.m., The Montana Actor’s Theatre will present Puss in Boots: A Christmas Panto at the MAT Theatre on the campus of MSU-Northern. Produced by Frank and Bettie Barber of Chinook, the play promises “an enchanting journey like no other with the most charming feline in the land!”
According to MAT personnel, Puss in Boots: A Christmas Panto is a slapstick comedy that relies on audience participation and silly puns. This is the classic tale of a cat who gains the trust and admiration of a rich and powerful leader to help his owner improve his life.
Written by Angela Murri, Morgaine Evans-Lomayesva, and Gwen Hart—with additional writing by Martin Holt and Caroline Tuss—this comedy carries a “dazzling holiday twist.”
Tickets for the performances are available locally at Bear Paw Meats, The Computer Center, & Company Apparel, and Havre Area Chamber of Commerce, as well as online at mtactors.com/tickets. Doors and the Backstage Lounge will open one half hour before the show begins.
Pantomimes (or pantos for short) are a popular genre of family Christmas theatre in the United Kingdom (UK). Traditionally based on folk tales, pantos will typically take a well-known fairy tale or other favorite children’s story and turn it into a bright and bold musical comedy that includes songs, dancing, slapstick humor, and ample audience participation. In the case of the MAT production, the familiar story of Puss in Boots will form the basis for exaggeration, variation, and social commentary. Eccentric characters, as well as outrageous jokes, humorous songs, and sprightly dances, will add to the retelling of this topsy-turvy musical comedy.
A few theories circulate to explain why pantomime is performed during the Christmas season. However, one of the strongest links between pantomime and Christmas is tied to the 18th century actor, playwright, and theatre manager David Garrick. Although Garrick was not a fan of pantomime, he was a businessman who knew that pantomimes were money-makers. He staged pantos at Drury Lane in the UK, restricting them to the Christmas period in order to associate them with “the childish fun and gaiety of the season.” As pantomime became more tailored to families and children, the association with Christmas stuck. Garrick may have thought pantomime was muddying the name of legitimate theatre, but he unwittingly encouraged one of theatre’s best-loved traditions.
