What is it like being a pantomime producer during the Covid 19 pandemic?

These are strange times. Usually by mid-May the Imagine Theatre Head Office team would be flat out with casting, scripting, preparing sets , wardrobe, props and marketing campaigns would be in full swing. With the planning for 16 shows all happening at the same time to manage, our days would usually be full to over flowing at this time of year with emails constantly pinging in, and the phone ringing constantly.

But this year it’s completely different.

Those usually busy phone lines have been transferred to Steve and Sarah’s home, and they are quiet. Many of our staff are currently on furlough and our inboxes are busy dealing with a multitude of emails never even considered in normal times. COVID-19 has turned a usually hustling and bustling company into a rather quiet one at the moment.

Our days are spent considering budgets and their impacts and meaning, speaking with theatres, listening to webinars from UK Theatre or such organisations, thinking a lot and listening to the government’s daily briefing, trying to understand what this means for our industry as a whole, as well as for pantomime come Christmas 2020. What we do know is that personal health, well being and welfare is paramount in this situation – for our staff, the theatre staff and for any potential audience members.

And the honest answer is that right now we just don’t know what this all means. There are more questions than there are answers. How can social distancing work in a theatre – for the audience? Front of house? Back stage? Do actors have to be 2 meters apart on stage? Can a wardrobe manager help with a quick change? What is the capacity of a socially distanced auditorium (word on the street is approx. 20% of usual capacity – slightly more in some venues, slightly less in others)? Will the finances stack up if we have to limit audience numbers but our production overheads remain almost the same? What happens if a cast or crew member becomes ill with Covid-19 during the rehearsal or performance process – does the rest of the cast have to isolate and are we in a ‘show stop’ scenario? How do we ensure that actors are 2m apart backstage if the dressing room area is limited? How do we manage social distancing backstage and side of stage where space is notoriously limited? The list goes on and is utterly endless.

However, the most important question of all is, if theatres do re-open, how confident will our audiences be to return before social distancing ends, or a vaccine is found? That’s the million dollar question.

With every person and organisation we talk to, there is a sense of the unknown. However, what we do know is that there is a huge amount of work going on behind the scenes and so we give a big shout out to the many organisations championing our cause including Equity, UK Theatres, SOLT, The Federation of Scottish Theatre, The Arts Council and absolutely everyone involved in trying to build a structured and co-ordinated approach to the situation from the theatre industry’s perspective. Thank you for all you are doing to help present our collective case to the Government and for working with us to try and understand the impact that all of this will have on us in the immediate, short and long terms.

So, while there are so many questions at present, what we do know is that it won’t be long until the right answers naturally presents themselves and whatever they are, we as an industry will be ready to pick up the panto baton again.

Stay safe and well everyone – because we really do mean it.

Sending you all our very best wishes

Steve and Sarah x

Casting – Everything you need to know

This blog is relevant to adults who are looking to apply for one of our principal performance roles whilst our main casting window is open. For ensemble roles, the same process applies, but please be aware that even though you will apply during the same window, we normally cast our ensemble once our main principal line up is in place due to the need for ensemble to pick up understudy tracks.
 
For children’s casting please click here and for production/creative teams and crew, please click here
 
Imagine Theatre welcomes applications from everyone and all applicants will be considered for employment without attention to race, colour, religion, sex, sexual orientation, gender identity, national origin, or disability status.. Indeed, we are very lucky to receive thousands of applications each year from performers, creatives, stage management etc who want to work for us and it is therefore essential that we have a fair process which allows us to give every CV or spotlight link we receive the time and consideration it deserves.
 
The request on our website of HOW and WHEN to apply to us is part of that process, and we’d really appreciate it if you would help us to help you. 
 
We understand that applying for roles can be laborious and that you may want to try make your application stand out by doing something a little different. However, rather than sending us a message over social media or phoning in, please apply via the method stated on the website. Applying to us via a method that’s not listed on the casting page on our website, or applying outside the window of when we have casting open may affect the outcome of your submission. Your application may not get considered and we don’t want that to happen to anyone.
 
We are extremely active on our social media channels, therefore appreciate that we may appear old fashioned by not accepting applications via social media. Facebook and Instagram are not user friendly in allowing us to move messages about employment into any other format. We can’t move them into our casting database, and as a result they may not be processed and could get overlooked. In addition, these platforms don’t make it easy for us to download photos or CV’s. Our company ethos is to give everyone a fair chance and fair consideration and by sticking to the method stated at the end of this article we can ensure that this happens, we know we’ve not missed anyone who wants to be considered, and you know your application has been treated as you would like and expect it to be.
 
We wish we could audition everyone who applies to us, but with the sheer volume of applications it’s not feasible for that to happen. Therefore, as stated on our website, we only contact those we want to audition. We aim to post the dates of the principal auditions on our website and if you’ve not heard from us by the audition date, then you’ve not been selected for an audition with us. 
 
It’s also worth bearing in mind that, although you may not hear from us in a particular year, that doesn’t mean we aren’t interested in receiving your CV again in subsequent years. Some years the balance of roles means that we might be looking for more Dames and comics, or another year we might need more principal girls and father roles. It all depends upon the mix of titles we’re producing and what casting may already be in place. A breakdown of the roles that we are casting for will be posted on our website and spotlight ahead of the audition calls going out. If there isn’t anything that fits your casting bracket this season, please keep applying in following years. Never say never! You never know what a casting team saw in you or your initial application and what they might want later down the line. 
 
What we will do is make a commitment that if you have an audition with us, we will let you or your agent know the outcome, however this may not be straight away. Due to the fact we are usually casting for multiple productions all over the country, casting is a huge jigsaw puzzle that sometimes requires 3 or 4 key people to fall into place before we can cast the rest. If they don’t accept straight away and we’re left waiting for a little while, this can have an impact on the rest of the casting. It might be waiting for a ‘name’ to confirm, resident dames/comics or just that someone is waiting to hear if something such as a touring contract is going to happen for them. We promise we try to do things as fast as we can, but as you can now appreciate, it’s not that simple. 
 
Thanks for taking the time to read this, and we look forward to hearing from you.
 
The email to apply for both Principal and Ensemble Understudy roles to is casting@imaginetheatre.co.uk – this inbox is manned during the time that we say casting is open on our website. This date will also be announced on social media, so please keep an eye out on our channels for opening and closing dates. It may feel like you’ve not heard back from us, but so long as you apply at the right time and get our email bounce back reply then your application will be being considered by us. Please DO NOT apply to individual emails within the company, we only accept applications sent to the casting email as stated above.

Thank you Newark and Southport

We’ve had the most wonderful 5 years producing the pantomime at the Palace Theatre, Newark and 6 years producing the pantomime at Southport Theatre.

Although we won’t be producing pantomime at those venues in 2020 we would like to thank the venue staff & audiences for their support and we hope to bring other shows to your venues in years to come

There are some super exciting times ahead for Imagine with new panto venues about to be announced for 2020.

Happy New Year

We're open at Fairfield Halls - Croydon Blog 10 - December 2019

Well, it’s been 2 years in the making but Cinderella at the Fairfield Halls is finally open. It’s been an incredible journey, but when you see the show you will understand just why this production has been so dear to our hearts and what has made it so very special.

Cat Sandion as the Fairy Godmother and Grace Chapman as Cinderella. Cinderella shall go to the ball! Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

 It’s utterly groundbreaking. There’s no other way to describe it. It’s innovative, clever, and moves the pantomime genre into the next decade with style and panache. And we’re hugely proud of the team who have worked so hard to make it all happen.

 We’ve talked about the cast in previous blogs so for this post we’re just going to say Ore, Tim, Cat, Grave, Katie, Jason, Alistair, James B, James A, Lizzie, Melanie, Samuel, Joseph and Lily, you are just amazing. Thank you for all your hard work and enjoy the run.

Ore Oduba as Dandini. In the Palace.Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

 The focus of this blog is going to be about those who have worked behind the scenes to bring this incredible production to life. This blog belongs to them and they’re amazing people. It’s impossible to single any one person out, because they have all played an incredible role in what is a completely unique and special project which we strongly believe is the way forward for pantomime in the future. From the initial vision, through set and costume designs, to animation, through lighting and sound to music and scripting, it takes team work to pull something like this off. Therefore, rather than single any one of them out, we’d like to pay homage to their work by simply showing you the incredible production photos, and giving a VERY long list of those who have worked on the project. Thank you to each and every one of you who has been involved. We appreciate it more than words can say

James Bisp as Prince Charming and Grace Chapman as Cinderella. Falling in love! Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

And finally to Neil Chandler and the amazing team at Fairfield. Thank you for letting us create this amazing pantomime world in your beautiful concert hall, which we’re sure in its history has never seen anything quite like this! Thank you for trusting us. Thanks for working with us and we look forward to what panto 2020 will bring! x

Jason Marc Williams and Alistair Barron as the Ugly Sisters. In the village. Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

Grace Chapman as Cinderella. You shall go to the ball! Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn..

Producers – Steve Boden and Sarah Boden for Imagine Theatre

Associate producer – Laura Taylor

Director - George Wood

Choreographer - Lynne Thomas

Musical Arranger - Steve Power

Musical Director - Steve Clark

Lighting Designer - Jamie Corbidge

Sound Designer - Mike Thacker

Set and Costume Designer - Mark Walters

Video Designer - Nina Dunn

Disguise Programmer - Luigi Sardi

Video Production Engineer - Harrison Cooke

Scenic build coordinator – Dave Edmunds

Costume coordinator for Imagine Theatre – Dawn Outhwaite

Production Manager - John Young

Company Manager - Nick Farmer

DSM on the Book - Laura Barton

Technical Stage Manager - Alastair Kleissner

ASM - Samantha Gardiner

Wardrobe Supervisor - Sarah Holland

Wardrobe Manager - Jennie Quirk

Wardrobe Deputy - Victoria Coles

Costume Makers - Sarah Holland, Stephanie Harvey, Frank Kershaw, Chic Chapeau, Wig Room

Musical Director/Keys - Steve Clark

Drummer - Mike Osborn

Bass - Dominic Palmer

Assistant Choreographer - Sian Owen

LX Programmer - Rachel Moule

Video Content Production - PixelLux

Illustrator - Elfyn Round

3D animator - Paul Roberts

3D animator - Olly Venning

2D animator - Tamaš Nadudvari

2D animator - Matthew Brown

2D animator - Letty Fox

Production Co-ordinator - Laura Salmi

Dance Captain - Joseph Lukehurst

Chaperones - Michaela Kelly and Team

Year of behind the scenes administration/ planning/ preparation and hard work – The Imagine Theatre HQ team

In the forest. Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

Tim Vine as Buttons. Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

Katie Cameron as The Wicked Stepmother. Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

Ore Oduba as Dandini. At the Ball. Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

Cat Sandion as the Fairy Godmother. Photo credit - Craig Sugden. Copyright design and image - Imagine Theatre Ltd. Scenic Design - Mark Walters. Animation - Nina Dunn.

Its less than a month until Cinderella at Fairfield Halls Opens! - Croydon Blog 9 - November 2019

Its less than a month until Cinderella at Fairfield Halls Opens! - Croydon Blog 9 - November 2019

With less than 1 month to go until Cinderella at Fairfield Halls, Croydon opens, we spoke with Steve Boden, who had the vision for the show, to find out just why this show is so special and why it will re-write the pantomime rule books forever whilst staying true to the traditional roots of the art-form.

Read More

August is over! It’s almost time for the Halls to re-open - Croydon Blog 7 - August 2019

August has been another busy month in the world of Cinderella at Fairfield Halls, Croydon. Most people have been enjoying their summer holidays but not so for the team working on the show! The temperature has been rising in the design studios and workshops across the country.

Things are progressing well over at Fairfield Halls. Work is almost complete, and the seats are all fitted back in the Phoenix Concert Hall, where we will be performing. There are painters and decorators everywhere. The venue is well on track for its re-opening in just 2 weeks’ time!

The Halls are re-emerging from behind the hoardings! Source https://twitter.com/ErmerlindaJ/status/1162748360631246849

The first piece of panto related news to announce is that we welcome Nina Dunn on board as our Video Designer Nina is a really exciting appointment for us. Nina has worked on some amazing theatrical productions recently including 9 to 5 at the Savoy Theatre and the tour of In The Night Garden. This is the first panto that Nina has worked on and the first time that Imagine have included so much video content into one of their shows. The ideas being discussed are really exciting and we can’t wait to see the finished product. Nina is working very closely with the designer Mark Walters to ensure that the A/V content of the show has the right feel and style to the rest of the show. Having video content in the show has certainly got the creative juices flowing within the creative team.

L-R Nina Dunn (Video Designer), Laura Taylor (Imagine Theatre), Will Brenton (Script Writer) and Steve Boden (Imagine Theatre) met in London recently to talk through how the scripting will integrate with the set and all the other exciting things we have up our sleeves!

The second big piece of news to share with you is that the script is well under way and our writer is confirmed. This is the last part of the project to fall into place.

We’re absolutely delighted to welcome Will Brenton on board as the writer of Cinderella. We’ve not said much yet about the technology integration within the show, but with his experience in theatre, arena shows, TV and panto script writing, Will became the obvious choice. Will has written many pantos for us and also directed and is currently working as a director on the TV show Emmerdale. We’re looking forward to receiving his first draft of this new version of the show.

The set build is well under way. The newly created Imagine Theatre Scenic Workshops, overseen by Dave Edmunds our Head of Operations, are working their magic to bring Mark Walter’s beautiful set designs to life. Imagine has always been able to build scenic elements - we’ve now just made the set up a little bigger. Things are progressing along well with the build, and we should have some photos to share with you soon but in the mean time there’s a sneak peak below. It’s possibly one of the most complex builds we’ve ever undertaken or worked on, whilst also being deceptively simple in its look. We can’t wait to share it with you!

A sneaky peak of some of the design currently being built, waiting to be painted and then used for… well we can’t tell you just yet! . We can’t tell you how beautiful the overall design is. It literally takes our breath away every single time we see it.

Dawn Outhwaite, Head of Wardrobe for Imagine Theatre, is overseeing the costume makes. Mark Walters costume designs compliment the set beautifully. We have a whole team working with Dawn to bring Mark’s vision to life. Dawn recently went fabric shopping with Mark, our designer. Here’s an idea of some of the fabric colours they chose, and she and the team are now working with.

The fabrics are so colourful and vibrant. We can’t wait to see them made up into the costumes.

So, we move onwards into September, and the venue is almost ready for its handover, the gala re-opening with Dame Judi Dench on Monday 16th September. It really is all go in Croydon!

A Beauty of a Cast for Eden Court’s Panto

Eden Court, Inverness are delighted to announce some familiar faces are returning for Beauty and the Beast this festive season.

Once more the cast will be headed up by the popular duo, panto dame Steven Wren and the hilarious Ross Allan. Chris O’Mara is also returning this year after proving a huge hit with audiences last year when he played the villainous Fleshcreep. New faces to the Eden Court panto stage are Christie Gowans as the title character, Beauty, with Rodney Matthew playing her father, Victoria Compson-Bradford as The Enchantress and Jamie Crockart as The Beast/Prince.

The partnership of Steven and Ross has proved a great hit with audiences over the last few years, and not only does Steven perform as dame but he also directs the panto. He says of their partnership:

“Working with Ross is a treat as he’s so inventive and so funny.  We bounce off each other really well and trust each other to go with whatever spontaneous thing happens in any particular performance so that the audience knows we’re improvising around the script, but he’s disciplined enough to come right back to the story as soon as we’ve got the laugh.  We're the same sort of performers in that regard and I feel relaxed and confident on the stage with him. As a writer and director, I love the way he plays around with ideas.  Every rehearsal is new.  He never repeats himself until we’ve decided on the best variation, and that’s the one that goes into the show.  he trusts me as a director and acting partner too and that’s crucial for the relationship to work as well as it does.”

“Eden Court is populated with the most adorable people to work with.  The encouragement and support I get from the staff is extraordinary.  So that makes it a complete event for the audience.  It’s not just about what we do on stage, but it’s what the restaurant, box office, bar staff and theatre ushers do that make it a total night out for everyone.  What’s surprised me over the years is the build-up of the audience.  Something like 36 000 people see the show, and some of them come back more than once.  It’s always a wee thrill when someone stops me in the street or in the supermarket and tells me how much they’ve enjoyed the panto (not sure how they recognise me out of make-up, but I’ll leave that aside for now). The best thing about it for the audience is that they get a full story told in a funny and entertaining way that makes 3 year olds and 93 year olds laugh and smile.  For many people, it sets the mood for Christmas and I'm delighted that we can be a part of that.”

Ross Allan has had a busy year so far as he recently performed in Aberdeen in A Midsummer Night’s Dream and is currently working at the Dundee Rep. He says:

“I agree with Steven about how wonderful the audience is. The people of Inverness have really made me feel special and welcome over the last six years there and it feels like a second home to me now going in to my seventh panto season. A special mention to everyone that works at Eden Court. They are all a very special bunch of people!”

Christie Gowans is very excited to be taking on the title role of Beauty. Beauty and the Beast has been my absolute favourite fairy tale for as long as I can remember (so much so I can quote the Disney film word for word!), and I think that’s because of its poignant and enduring messages of never judging a book by its cover, always embracing your uniqueness and the power of love! It also has so many wonderful characters that capture your heart, and I particularly love Belle for daring to stand out from the crowd and always standing up for what she believes in!” 

“Panto season is the most magical and laughter filled part of my year! I’m in the Christmas mood from the first day of rehearsal to the final show day, and I love seeing the joy that panto brings to everyone of all ages.” 

Chris O’Mara is relishing getting to be wicked again this Christmas season as he takes on the role of the arrogant Eugene. “I believe my character has a lot of similarities to Gaston from the Disney version and over the last year or so I've become a bit of a gym bunny, so Gaston and I are definitely kindred spirits in that sense. We both probably spend a little too long looking at ourselves in the mirror too...!”

Beauty and the Beast runs from Friday 6 December 2019 – Sunday 5 January 2020.

For more information or to book tickets call the Eden Court box office on 01463 234234 or visit the website www.eden-court.co.uk 

Magical Line Up for The Victoria Theatre Panto

The Victoria Theatre are delighted to announce their full principal line-up for the magical family friendly pantomime Beauty and the Beast.

Joining Dame Adam Stafford and comic Josh Benson are Jenny Perry in the title role of Beauty, Richard Anthony-Lloyd as Beauty’s father Cedric, Matthew Wellman as Eugene, Sam Willison as The Prince and Lydia Rose Bertie as The Enchantress.

Richard Anthony Lloyd hails from Yeadon in Leeds and has strong links to Halifax “I first got to know Halifax through rugby. From being smashed on a cold Sunday morning up at Ovenden playing Rugby League to playing Rugby Union for Keighley at every Halifax club over the last 15 years - it's always fun. Before embarking on the Calendar Girls tour which I have recently been in, I performed with the Halifax based theatre company Talking Stock touring with Godfrey's Last Summer playing at The Square Chapel Arts Centre in town. I have lots of friends who are active members of the theatre scene in Halifax and I was planning to direct Spamalot in the town until Calendar Girls came along. 

“I have always loved panto and the way it is so totally different to any other genre of theatre. I love the fact that every show is different and anything can happen at any time. It keeps us on our toes and is always loads of fun. I love the fact that you look the audience in the eye, break the fourth wall and ask them to participate with you in the storytelling. As a teacher I love the history behind panto as we know it and how it came about. Slapstick and panto were always my favourite units to teach!!”

Jenny has performed in a number of pantomimes, however this will be her first time playing Principal Girl.

“I have played everything else apart from principal girl as I have played principal boy, fairy and even villain (Wicked Witch of the West), but it’s my first time as a princess so I'm very happy to tick off the last box!”

“I love the story of Beauty and the Beast. Obviously the Disney films were a big success, but I also think it's one of the few pantos where the heroine takes control of her situation and doesn't need rescuing! She is strong-willed, clever and kind, which are characteristics everyone should aspire to have!”

Sam Willison played Prince Michael in last year’s production of Snow White and is delighted to be back and Beast/Prince for this year.

“My favourite part of performing at The Victoria Theatre last was the audiences we had. They were full of energy and loved to get involved in all the action! Also the front of house staff and crew that we were very lucky to have! They always had a smile on their face and made it a lovely place to work.”

Get your tickets now for this ‘beauty’ of a show! Beauty and the Beast runs from Saturday 14 December 2019 until Sunday 5 January 2020.

For more information or to book tickets please contact the Victoria Theatre box office on 01422 351158 or visit www.victoriatheatre.co.uk

July, July! Summer’s here and our children are cast - Croydon Blog 6 - July 2019

July is nearing its end and August is almost upon us. That means there’s less than 4 months to go until Cinderella at Fairfield Halls goes into rehearsals!

The main event to update on is that our children’s ensemble is cast! The Imagine team had a fantastic day at the end of June casting our three teams of 8 children. The queue was so long that it snaked around the building and there was a huge amount of excitement in the air from both the children and their families there to support them. It was extremely exciting to see the buzz that is already being created around the production and the joy generated through an opportunity that allowed children from all backgrounds between the ages of 9-16 to audition for their chance to be a part of the Fairfield Halls pantomime.

The queue for the junior ensemble auditions went round the building!

Choreographer Lynne Thomas puts the children through their paces in front of the judging panel

139 young people took part in the auditions and the standard was amazing. Our Choreographer Lynne Thomas really had to put them through their paces. The morning cuts led to recalls in the afternoon, and a closely fought but very supportive and friendly second round. Casting the final teams plus a team of reserves was tough but we’re thrilled to introduce you to them. They’ll attend all rehearsals but then split the run between them.

Introducing our three teams of children who will appear in Cinderella

In another casting update, we’re delighted to welcome two more principal cast members to the team. American actress Katie Cameron will play the Wicked Stepmother and James Bisp plays Prince Charming. Katie has worked for Imagine twice before and has always been an absolute smash hit. She played the Wicked Queen in Snow White at the Hexagon, Reading for us in 2016 to rave reviews and will bring her own unique New Yorker twang to the part. She really is fabulous! James is new to Imagine but we’re really excited to work with him and to see how he and Ore Oduba work in the double act of Prince/ Dandini.

It’s been a busy month in the world of costume design. Our amazing designer, Mark Walters, has now finished the costume designs and we’ve started to commission makers. They are fabulous and tie in beautifully with Marks set design and colour palette for the show. Here’s a sneak peak of one of the fabulous designs Mark has done for the Wicked Stepmother.

The Wicked Stepmother costume design which will be worn by Katie Cameron

We’ve also started to make some big progress on the set build. We’ll update you more on this in future months.

Last week also saw another production meeting for the show at our offices in Coventry. This time it was the turn of Production Manager John Young and Lighting Designer Jamie Corbidge to get together with the Imagine head office team of Laura Taylor and Dave Edmunds, to start the detailed planning of how the set will fit up, the lighting designs will work and to understand how all the technology which forms such a critical part of the production will integrate together. To watch John and Jamie’s reactions to the designs and ideas was great for us to see. The concept and model are consistently getting extremely positive and excited feedback and we can’t wait to share it with you!

We’ve been asked on several occasions by people working on the show whose concept this show is? Well, we’re very proud to say it’s the brainchild of our MD Steve Boden, who came up with the principals and concepts of how he visualised this production working. His ideas were then turned into a design concept by the amazing Mark Walters. We will run a more detailed story about it in the coming months, once we have more images of the set build to share. It really is something different and exciting!

So, we move onwards into August, where we will start to physically be able to hold set pieces and costumes.  Script work will continue to progress well, and the venue will be nearing its handover, ready for the re-opening on 16th September and its first gala concert on 18th September. It really is all go in Croydon!