Backstage at Aladdin in Newcastle
January 17, 2008
There is no doubting that his years pantomime at the Theatre Royal, Newcastle, has been a terrific success and with over twenty thousand tickets already sold for next year, writer and director Michael Harrison certainly has proven to have the midas touch.
It all started three years ago when Michael brought Jill Halfpenny, Clive Webb and his son Danny Adams to the Theatre Royal in what turned out to be a record breaking production of Cinderella. The success brought them all back the following year in Jack and the Beanstalk, with Jill’s husband, actor Craig Conway, joining the cast. Now returning for a third year Clive and Danny, along with Craig, have a new leading lady, Faye Tozer in Aladdin.
Demand was so high for tickets it resulted in an extra week having to be added to the run before the show even opened. On top this is Danny and Clive have announced they will return next year in Robinson Crusoe and the Caribbean Pirates, again this will be written and directed by Michael Harrison.
North East audiences have really taken Clive and Danny to their hearts and there is instant recognition as Dannys familiar giggle rings out across the theatre. Michael explained to me at the technical rehearsal for this years show, the connection between the cast and audience had grown so strong over the last three years that there is now an instant connection between the two and there was no need to “warm up” the audience. I found that this year, more than ever, that proved to be the case. Also even though the show features the Darleks and the incredible Boggle vision (a superior 3D effect) if you take these elements away, there is still a great family show at the heart of the production. Actually these elements are not supporting the show; in fact the show is really supporting them.
After attending the technical rehearsal and press night, I was invited to sit backstage and see the production from the wings, a rare opportunity and one too good to good to miss.
Looking after me was Michelle Dixon, Stage Manager (sharing the same surname was just a co-incidence). Michelle placed me beside Leonie Mcdonald the Deputy Stage Manager, who was positioned just inside the wings at what appeared at first glance to look like an old telephone switchboard. From here she was able to communicate to all the technical staff by way of a microphone and headset and as I arrived, was checking everyone was in place for the second show of the day. She also made announcements to the cast for them to prepare for the show and take their positions, as well as for the audience to take their seats. In front of Leonie was a series of switches and lights, many of which were labelled with names like “trap” and “Faye”.
Leonie explained to me that each label had a switch controlling both a green and red light, one light gave the technical team a warning they were reaching a cue and thirty seconds later the second gave them the go ahead to perform the action required. This can best be demonstrated by the trap door used to carry Faye Tozer to and from the stage which is used many times during each performance. Thirty seconds before it was needed Leonie gave a light signal to the technician controlling the trap and then the second light came on telling him to take the trap up or down.
As Faye was often singing when the trap door started there was a light for her situated beside the conductor, controlled by Leonie, so she could she when her descent was about to begin. I was surprised to learn that there is no revolve on the trap door, as Faye turns very smoothly as she makes her entrances and exits and its all her own work. Turning smoothly, while wearing high heels, as you rise and fall singing through a trap door, several times a day, is I imagine no mean task.
As the show was about to start I made myself comfortable and dropped my jacket on the floor next to me, which I was soon to find was a mistake. As Craig Conway , playing the evil Abanazara, left the stage after the opening scene , which involves him driving a motorbike, he suddenly dived down on to the floor next to me, quickly pulling my jacket out of the way. What had appeared to me to be three empty plastic cups actually were his, along with a bottle of water, that unknown to me had rolled under the seat. I was glad to see he smiled as he grabbed the water before he rushed away. When he returned, I am pleased to say still smiling; he placed the water bottle next to me again, so I do not think it had been that much of a problem. I was careful that it was in sight at all times after that so he could grab it whenever he left the stage.
Next, I found myself pushed back against the wall as a Chinese dragon took its place in wings waiting for the right cue. From where I was sitting Chinese policemen, henchmen and the chorus, all waiting for their cues, surrounded me at times during the performance, but noticeably they were all exceptionally polite and made me very welcome. At no time did I feel I was in their way, despite taking up valuable space in the wings.
As sets were wheeled and pushed on and off stage from behind me it was noticeable how little space the production has in the wings. Everything seems to fit back like a jigsaw in to the available space when it is not on stage, ready for the next performance. At the same time Michelle was ensuring the right props were ready of the cast as they needed them and then removed safely for the next performance, these ranged from Aladdin’s lamp to a selection of police truncheons.
Throughout the show cast members raced to quick change areas to prepare for their next scene and children who were in the chorus were chaperoned away until their next entrance. Despite the pantomime being near the end of its run, everyone seemed in a great mood and enjoying themselves, even if it was the second show of the day and twelfth show of the week.
When Mrs Twankey sang her Boogie Woogie dance number there was no stopping Crag Conway in the wings singing the words and joining in with the dance routine, safely out of the audiences eye line. As he was in his costume and in full “evil” make up as Abanazara, it made for a very strange sight.
Like a lot of shows there are some comedy moments that appear spontaneous and only if you see the show more than once do you realise this is happening, such is the skill of the performers. When Faye Tozers voice started to break in to a giggle in a scene with Danny Adams as Aladdin, there was no doubting this was not rehearsed as Craig and several stage hands ran to the wings to see what was happening. Professionally she quickly recovered and was soon descending through the trap door again.
While all this was happening Leonie was quietly talking over her headset to other technical staff, checking the script she had in front of her and glancing at the monitors suspended above her. One was permanently on the conductor the others gave a clear view of the stage from an audiences point a view. This allowed me to be sitting with an actor ready immediately in front of me waiting for his cue, then glance sideways to see him appear on stage from the audiences perspective on the monitor.
When I heard a female voice ask if I was ok, I turned to see Kathryn Rooney who was playing Princess Jasmine, waiting to be carried on stage by foot soldiers. After a brief few words, she opened a feather fan and drew it across her face, before “her guards” lifted the chair she was sitting on and carried her regally on to the stage. Later we chatted while she waited for another entrance and I found she has three weeks break after the pantomime before rejoining the Half a Sixpence Tour that will play the region later this year.
Noticeably while off stage and waiting for their next cues there was total concentration by Clive and Danny, the father and son act that the north east audiences have taken to their hearts over the past three years.
All too soon the cast were ready in the finale costumes, which up close are just as glamorous as they appear on stage and the giant staircase that is sitting in the wings slides in to place for the final walk down.
The audience give rapturous applause as always, but soon the curtain falls and by the time the safety curtain drops and the backstage lights come on the cast are back in their dressing rooms.
Michelle shows me where the incredible Boggle Vision projectors are mounted high on scaffolding at the rear of the stage before its time to go. With Monday being her day off she is driving straight back to Scarborough so she can have the full day at home. But she will be back on Tuesday, ready for the first matinee of the shows final week.
Having been backstage after the technical rehearsal and then seeing the show on press night, gave me a complete understanding of how the show is put together and runs so successfully. Finally I would like to thank Leonie, Michelle, Ray Tizard,(Company Manager) and Michael Harrison (writer and director) as well as, all the cast and backstage crew, for the opportunity to see the show from this perspective. I have been invited back next year and I must admit, I am already looking forward to being backstage once again.
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