Day 4 in the Big Harrogate Theatre rehearsal.

By Tim Stedman

Today we broke the back of Act 1 by rehearsing quite late into the evening.  A long day after a morning of singing eventually got us to the ‘slosh or slap’ routine.

I had scenes with Aladdin and then Widow Twankey joined, then the villain Abanazar. Finally we did a front cloth scene with all of us and the Emperor, Policeman and attendants.

Most actors want lots of lines; as inveterate show offs lines mean the focus of the audience is on you and therefore you are important.  In most pantomimes my character has huge importance at the start with scene setting, communicating plot and as a warm up but fades with the arrival of the dame and lovers and most importantly story.

With that see saw of importance the natural reflex as an actor is to fight such a demise.  I’ve always been happy to shed lines in my opening swathes of monologue.  Be funny, fast or get off!  Pace, a huge concern for a director, often dictates we need cuts.  But towards the end of today I was stood with 6 actors all who had masses to say whilst I had to listen on the end of the chorus line.

Beside myself for a titbit of spotlight I was suggesting ideas, disagreeing over blocking, trying to be part of the creative spotlight.  I even brought on a chair to sit on so the director would realize how little I was involved.  All in jest and good humour but a message nonetheless.  With a Paddington bear stare from the director I hastily returned to standing.

And then bizarrely a bit of training kicked in.  I just listened.  And then I listened as my character would listen.  And from nowhere on a head turn mirrored by Widow Twankey, as we glanced at each other, the DSM (deputy stage manager) laughed at Gordon and I listening.

DSMs are normal people who rarely wish to be on the stage or show off.  They’re the nearest gauge we have to an audience much better than fellow actors or even the director.

Back in the scene I was now listening.  Supporting the others and telling the story.  The story is King, Stedman.  The story is King.

Day three in the Big Harrogate Theatre House

By Tim Stedman

Spent the morning dividing up the singing.  Who sings what, where and when.  The ladies of the company sound amazing singing their number together.  James (Emperor) and Gordon (Widow Twankey) also have a potential showstopper with their duet masterfully arranged by Nick Lacey, our Musical Director.

In the afternoon we sat about paying due homage to this classical drama with more rehearsal.  Wishee Washee’s relationship with Aladdin and Widow Twankey is going to be one of the keys to the way he comes across and indeed the whole family.  It might be as read but audiences, if they don’t see it at least feel – even in the midst of a tirade – whether we still dote on each other.  Having working with Lara before that brother/sister rivalry and banter is huge and creates (I hope) a natural chemistry as brothers on stage.

First rehearsal with Gordon (Widow Twankey) went well.  He’s full of energy, confidence and generosity.  We made fast choices and fell headlong into a double act.  At this stage whether it is the right double act doesn’t matter.  What is wonderful is energy and creativeness and he has bags of it.

Day two in the Big Harrogate Theatre House

By Tim Stedman

Spent the morning listening to the songs for the show.  Spent the rest of the morning encouraging my voice to vaguely resemble said recording. Failed.

In the afternoon we began some blocking of the play – standing it on its feet if you like.  It’s at this point script and cast frailties become more apparent.  Surely its too late to recast now – so I’m safe.

Tom and Liz emerge contented from their ‘opening scene’ rehearsal as Nat, who plays the panda, and I enter the studio.  I fumble and splutter through 4 pages of soliloquy awaiting the arrival of creative support from the Panda’s big entrance.  Soliloquies are hard.  A director of mine from long ago used to say be funny, fast or get off.  I failed to be funny and with 4 pages it’s difficult to be fast or get off.

But then that’s what rehearsals are about – failure.  Finding out what doesn’t work, which jokes work on the page but might not on a stage, how long a punchline should be, where it fits etc.  And that fortunately it’s too late to recast!

Day One in the Harrogate Theatre House

By Tim Stedman (a.k.a. Wishee Washee)

Always nerve wracking that first day.  New names and faces and some faces of which I should remember the names.  The staff were as welcoming as ever, embarrassing me with photocopies of a half page spread in the Harrogate Advertiser with my gormless face leaping out to scare its readership.

‘Read throughs’ are terrifying : do you just read it calmly or try and perform it?  Half the cast I know.  Centre state Lara Denning the ‘named part’, a veteran of Snow White, Sleeping Beauty and stepped into the breech in 2004/5 for Mother Goose when another actress fell terribly ill.

Clive, a wonderfully talented and hugely attractive man (he’s 6’8’’ and looking over my shoulder) who I shared a staged with at Stoke.  I played a racist and he beat me up – that Theatre in Education for you.

Tom Peters scared me silly (literally) in Mother Goose and Jack and the Beanstalk with his villainous characters.  A fellow Liverpool F.C. fan (it’s in print now so it must be true) he’s going to be very good in Aladdin.  Or should that be very bad!

James I’ve met briefly before and is famous for his performance in Bouncers, Perfect Pitch. Up ‘n’ Under – he’s a John Godber specialist.  Gordon, Natasha and Liz who I’ve not met before read amazingly.  The standard has been set.

We saw a model of the set designed by Philip Witcomb. Wow. That’s all I’m going to say. Wow.

And finally it’s a joy to work with the legendary director Phil Lowe. (He told me to say that!)

Aladdin’s in town!

The cast for this year’s truly traditional pantomime arrived at the Theatre today to kick off rehearsals. After lots of tea, cakes, firm handshakes and the occasional hug, work got underway with a presentation of the set and costume design, the first read-through and a photo call.

To keep you up-to-date with all the latest Aladdin-based goings on our cast are going to be posting updates here throughout the whole run, giving you a rare insight into the magical world of panto.

Fore more info on Aladdin click here.