As pantomime season takes centre stage in Jamaican theatre, featuring productions like the LTM's national pantomime Dickance for Fippance and Jamaica Playhouse's One Time Long Time, there is a rich history and cultural significance associated with this theatrical form. Henry Fowler, co-chairman of the Little Theatre Movement, provides insights into the history of pantomime, dispelling misconceptions that it is solely an English tradition. Fowler emphasises the flexibility of pantomime, adapting to the characteristics and colours of the country it represents.

Published Janauary 12, 1975

THE SUNDAY MAGAZINE

The history of pantomime

JAMAICAN PANTOMIME STARS: Louise Bennett and Ranny Williams are synonymous with pantomime in Jamaica. They have played the lead roles in countless LTM national pantomimes, attracting the devoted following of thousands of adults and children over the years.

RELEVANCE: This year's LTM National Pantomime Dickance for Fippance uses the serious theme of the 1938 labour unrest in Jamaica to be the base for a musical play which combines "moments of truth" with lively humour and music. Author is Gloria Lannaman. In this scene (at left) dock workers load bananas.

ONE TIME LONG TIME: (Below) the Jamaica Playhouse pantomime returns to the old tradition of magic and fantasy, including even a time machine. Here, members of the cast are seen in action on the Little Theatre stage.

THIS is pantomime season in Jamaican theatre. Currently, the LTM’s national pantomime Dickance for Fippance is starring at The Ward Theatre, while Jamaica Playhouse's One Time Long Time holds the stage at The Little Theatre.

As background to the history of pantomime as a theatrical form, SUNMAG presents excerpts from a talk given at the Institute of Jamaica recently by Henry Fowler, co-chairman of the Little Theatre Movement. Fowler told his audience:

“About the history of pantomime, there is much confusion. Many people will tell you that pantomime is a purely English tradition. This is sheer nonsense. Then if you ask an American tourist to come to the pantomime, there will be the reply: “Oh, pantomime, that is a dumb show isn’t it with no words only miming. This again is nonsense.

“What distinguishes pantomime is that it is most flexible; it takes on the colour and characteristics of the country and is bound by no rigid rules. It is popular theatre compounded of music, dance and meaning.

“Its popularity in Jamaica is due to the fact that it becomes a form which will give expression to all the creative talents of our writers, dancers, musicians and artists of all types. It becomes a vehicle and showcase for Jamaican talent. Its form changes to accommodate talent available in the country at the time. It fulfills the arm of drama, the art where all arts meet.

Early cultures

Prof A.M. Ragler, professor of dramatic history and criticism, director of graduate studies in theatre history, Yale University, says:

“The primary meaning of pantomime is “he who plays every role” or “imitation of all persons and all things”.

‘The first worded pantomimist was the legendary dancer Telestes, whom Aeschylus is said to have employed in his production of the Seven Against Thebes in 467 BC (Greece-dedifus Thebes).

“As representation of emotions and actions entirely by body movement and gestures, pantomime occurs in all primitive cultures (war dances, animal mimicry and sacrificial rites).

“If time had permitted, I should have liked to trace the history of pantomime in other early cultures beside the European. But I would particularly commend to your attention William Ridgeway’s book The Dramas and Dramatic Dances of the Non-European Races, for he traces there the role of pantomime in the beginning of drama in India, Java, Japan and China. While, when we come to look more closely at our Jamaican tradition, we will see how many links we have with early African rites and ceremonies (e.g. Johnkunu and Anancy).

In Rome

“In Rome, pantomime came into its own during the Augustan age. In 22 BC, two pantomimists won acclaim -  Pylades of Cicilia and Bathyllus of Alexandria.

Both artists were pantomime in the original sense of the word, they played all the several parts. By changing his masks several times during a performance, Pylades would play Delonysius, Atalanta, Meleager and four or five other characters.

“Most Roman emperors became involved in the affairs of the leading pantomimists of the day. The famous Roman writer, Lucian, wrote a memorable defence of the pantomimists when they came under attack from the early Christians. Lucian stated the qualifications he expected of a first-rate pantomimist. (And the qualifications could apply to a Louise Bennett and a Ranny Williams today.) Lucian said the prerequisites were a sound knowledge of music and mythology, a prodigious memory, extraordinary sensibility, and a perfectly proportioned body that combined athletic strength and suppleness of limb. Lucian also gave a long list of pantomime subjects, ranging from the origin of the world to the times of Cleopatra.

“Leaving the classical age of Greece and Rome, pantomime emerged again in 16th century Italy in the Commedia del Arte (our experience this summer in Venice). The name given to a type of improvised comedy, performed by groups of travelling players that emerged in Italy at the time of the Renaissance and flourished until the early 18th century. The strolling players of improvised comedy developed a body language that had universal significance and could be understood outside of Italy, in France, as well as in Poland, in Vienna and in St Petersburg.

Elaborate fantasies

“Nayler points out that John Weaver, dancing master of Drury Lane, must be credited with having taken to England the idea of staging pantomimes after the manner of the Italians, as well as of the ancients. Weaver's first pantomime was performed in Drury Lane in 1702. His second in 1716, The Loves of Mars and Venus was, in his own words, “in imitation of the ancient pantomimes”.

In England, these pantomimes became elaborate fairy tale fantasies written in rhyming couplets and, in the 20th century, pantomime became the most popular form of Christmas entertainment in England.

But it had become more like a series of lavishly staged vaudeville acts, although the tradition was preserved of having the 'boy' (the hero of the fairy tale) played by a girl (usually with legs glamourously displayed in tights), and his mother, traditionally known as the Dame, played by a male comedian.”

Fowler then went on to tell that, in Jamaica, it was in 1941 that Greta Fowler founded the Little Theatre Movement and produced the first locally written pantomime Jack and the Beanstalk. In succeeding years, there was a temporary return to English scripts, and then came a new cycle when pantomimes were built around the figure of Anancy.

With later years, the Jamaican pantomime evolved into musicals integrating Jamaican music and dancing with popular Jamaican themes. Today, he reminded, the National Pantomime has become “relevant” for behind all the gaiety and laughter, song and dance, music and romance, each year, the show is built around a moment of truth, “a profound meaning, relevant to the word.”

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