Calling all StageSiders, welcome back to a rather festive instalment of StageSide Stories. This time around we had the pleasure of talking with Terence Frisch, a Pantomime dame at Watford Palace Theatre. We got to find out about the role, what does into prepping for a performance and Terence gives some tips on getting into becoming a Panto Dame. So grab your favourite snack, a cup of tea and lets venture into the world of Panto!
Can you please introduce yourself, a bit of background and your role in the Pantomime?
I’m Terence Frisch, playing Fanny G, I’m Fairy Godmother in Cinderella. I’ve been playing dame at Watford since 2012.
How did you first become involved in pantomime, and what inspired you to take on the role of a Pantomime Dame?
My first pantos were with Hiss & Boo in the 1990’s; I just auditioned for Idle Jack at the Queen’s Theatre Barnstaple and got the job. I was offered the part of Dame a few years later as the fashion changed & I was considered too old to play those kind of parts, so I ‘took to the skirts!
The Pantomime Dame is a beloved and iconic character in pantomime. What do you enjoy most about portraying this character, and how do you approach bringing a unique spin to the role?
I really enjoy the direct address element, and hopefully I try to bring warmth and kindness to being silly & poking fun.
Pantomime is known for its humour and interaction with the audience. How do you engage with the audience as a Pantomime Dame, and what kind of reactions do you look for? Is there a right reaction from the audience?
Just talk to them; it’s a shared experience. I don’t there’s any ‘right’ reaction; obviously laughs are a good sign. Listening is the key.
Costume plays a significant role in the Pantomime Dame’s character. As the dame, do you get to contribute to the design and creation of your character’s costumes, and how important is the visual aspect to your performance?
No, I don’t get any real choice, the designs are sort of based on me and my character! The wow factor is pretty important with the cossies.
Cinderella is a classic story and a popular pantomime. How does this traditional story allow for creativity and innovation to shine through in your performance as a Pantomime Dame?
Oh crikey! I’m not sure I can really answer this. Obviously, I have a bit of input into the final version of the script, hopefully my experience of other pantos and Cinders in particular informs how I do things but I don’t think I can be specific.
Pantomimes often include improvisation and ad-libbing. How do you balance scripted material with spontaneity in your performance, especially in interactions with the audience?
It all depends on how each performances goes, as each one varies, they are unique in their own way! Sometimes there’s more, sometimes less – that’s the special thing about panto, it changes from show to show.
What challenges or unique aspects do you face as a performer in a pantomime, and how do you keep the energy, enthusiasm and morale high throughout the production?
Eat well and get plenty of sleep! I suppose your professionalism comes to the fore. Whilst everyone thinks it must be wonderful to be in a show, ‘ oo what fun!”, it is a job after all, and like all jobs it gets tiring and repetitive; but, just as in other jobs, you’ve got to get on with it otherwise you won’t make a living. Luckily panto is on during the festive season so ‘ jollity ‘ is all around. Plus the enthusiasm of the audience adds a lot to give things a buzz! As I said, it’s a shared experience and it doesn’t work without each other.
Pantomimes have a broad appeal to audiences of all ages. How do you cater your performance to engage both children and adults in the theatre?
Ah me, that’s the trick! It’s a particularly and peculiarly British thing pantomime, and luckily, we’re famous for our sense of humour, sense of the absurd and not taking anything too seriously (hopefully). There ought to be jokes that work on different levels. The innuendo of silly words works well and puns are fun for everyone.
The Pantomime Dame is often a source of comic relief. How do you gauge the audience’s response and adjust your performance to ensure that the humour resonates with everyone in the theatre?
You’re always trying to gauge an audience but hopefully if one joke doesn’t land, another will; or another will with a different emphasis, it is called a ‘play’ after all.
As the character that usually speaks directly to the people of a certain town or city, could you tell us a bit about any research you do into that place?
Not a lot, as I come from fairly nearby in Harrow, so I’ve got a good idea of the local jokes and gags that I can push. I do look at the local paper though, if it was somewhere that I didn’t know so well then yes, I definitely would do a lot more!
What do you hope audiences will take away from the Pantomime Dame’s character, and what excites you most about performing in this production?
A whole lot of family fun and hopefully audiences will take away core memories that they can treasure until they return the next year!
Finally, what tips do you have for someone looking to start a career in performance, and more specifically as a Pantomime Dame?
Everyone’s route or experiences are different. I’ve always thought that whatever you do for a living, should be a part of your life, not all of your life. I think that people are happier, and that to me is the most important thing. If I’m being specific about being a dame, then get a decent bra from M&S to start with. And don’t take yourself too seriously.
A huge thank you to Terry for sharing your StageSide Story and lots of valuable information on being a Pantomime Dame.
Have your say!
Are you thinking of starting a career in performing? Are you currently training to be a performer? How are you finding the process, and do you have any key techniques? Let me know in the comments and lets get a discussion going!
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