A long time has passed since Johnny McKnight became the Panto Dame of reckoning in Scottish theatre, and this is a testimony to his ability to not only command a stage but update work to include all his audience. He has an acute ability to enthral, enlighten (oh yes it does) and allow everyone to enjoy the pantomime structure that he uses to craft perfection for our eyes and ears.
But, what have I ever done to Mr. McKnight? Grumpy, irascible and less than festive am I, every time the word pantomime is spoken. But on the way to the Tron, I skipped and smiled in anticipation. All my concerns about a medium that feels dated are swept away by Mr. Bleeding McKnight. I may have to alter my claim to Seasonally Affected Diosrdered pantogripe... Oh Mr. McKnight what medicine are thee?
The key element is McKnight's reframing of the traditions of Panto without ditching them completely. We do get cross-dressing, dodgy jokes and over-the-top performances, but also the opportunity to see a same-sex relationship at the same time—updated and done with flair and creativity. To top it all, we get the delight of McKnight being in it and playing Stinkerbell herself.
To say that McKnight is a force of genius is underplaying his influence. I can see elements of Panto of the past, from Baxter and Carr to the cheeky chappie image, chookies, that Gerard Kelly was well known for as he interacts beautifully with the audience; you feel both threatened and welcomed at the same time. It is a delicate balance which McKnight manages without any trouble.
He is not alone. Captain Hook and Mr Darling Darling's Robert Jack plays to his galleries, Katie Barnett as Anita Wee Wee and Mrs Darling Darling is fantabulous: both manage to hit their comic notes with dexterity. Emma Mullen as West End Wendy and Jager Lily plays her part to great effect, and the verbal strangulation she has been given by McKnight in order to play a West End Daaaaarling is absolutely wonderful to hear but must have been an absolute nightmare to get right, but she manages it wonderfully.
Star Penders as Peter Panto is filled with Panto Gallus Gusto. It's magnificent to see somebody who has come through the Transitions Programme at the RCS manage get themselves on stage in such a leading role. This is testimony to why it is important to keep initiatives like that alive in the arts. But a word about Nana. Mark McKinnon has played an absolute blinder. He does a Dame Judi Dench number from Shakespeare in Love on the cast, as his minimal interjections are so memorable that I am still laughing. The strength is this adds and does not detract from the whole. Gaun yersel!
Designed by Kenny Miller, this is exactly what you would expect: bold, brash… brilliant. As for Ross Brown, their composer and musical director, this has a light and effective touch, always being supportive of the narrative. This is therefore more than one creative at work. It is a gourmand’s gallus gallop across the genre.
I was left aghast that I should ever think anyone would think that as an artform, panto was less than anything else; I never thought that. It just never appealed. But here, I cannot ignore that the collective skill on stage, the comic timing, ability to carry and convey a range of humour—woke stuff that's funny nae less, and brilliant in-jokes from Strathbungo to Kilmarnock and the Citz, via the National Theatre—but also delve into the moral depths of the characters, makes this an absolute marvel to behold.
I think that McKnight has not only matched the past, he's started to develop the transcending of it. But he needs allies. This cast has delivers a fantastic update to the genre that takes us on to the next level of how we see our national Christmas dish, and it should always be served with as much McKnight on the plate as possible.