Lyric life

In celebration of our 125th birthday, we’re looking back at some of the people and work that have made us who we are today –

We’ve been performing and producing Pantomimes from our very beginnings. John M. East, the Lyric’s General Manager from 1895, put on at least 10 Pantomimes during his time heading up the buildings programming (until 1904), which he wrote and produced himself. The first recorded Panto was Cinderella in 1897.

When Sean Holmes was appointed Artistic Director in 2009 he was committed to returning the traditional family pantomime to Hammersmith, he said:

“I loved Panto as a kid. It was my first introduction to theatre. I still love it. It’s anarchy, it’s community, it’s fun, and its hopefulness. Watching the Panto grow from strength to strength in the hands of a series of brilliant artists was one of the great joys of my time at the Lyric. Glory Glory Hammersmith!!”

The first of the ‘new’ Lyric pantos was ‘Jack and the Beanstalk’. Directed by Steve Marmion, designed by Tom Scutt and written by Richard Bean, Joel Horwood, Morgan Lloyd Malcolm and Ché Walker. As well as being written, created and designed all in house, what was unique about the Lyric Panto was the inclusion of the Panto Ensemble – a group of young people who were provided training and support for them to take their first professional roles as part of the panto. The initiative now over ten years old has provided young people, no matter what their backgrounds, with a pathway into theatre.

Jude Christian – Lyric Panto writer and director, 2016, 2017, 2018, 2019

‘My favourite memory is that wintry Tuesday-night-of-tech-week as we gathered in the theatre to send Jack up her beanstalk for the first time. Joel’s script and Sean’s brainwave led Jean to design an inflatable beanstalk, Corin’s music and Lainie’s choreography came together as Faith took a flying leap and Claire hoisted her through the air to wave from the very top of the proscenium, while Kayla and Cherelle cheered her on and Tim made everything twinkle. It was everything that makes Lyric panto its brilliant self: fierce, triumphant, ridiculous, heartfelt, hopeful, empowering, a massive team effort, and born out of pure love and devotion to giving Hammersmith the magical Christmas it deserves.’

Joel Horwood – Lyric Panto writer, 2009, 2010, 2011, 2012, 2016, 2017

‘There was a moment during Cinderella in 2012 when Mel Giedroyc (the villain) spotted a little girl in the stalls who was zapping her with her magic ring (FOH merch).  Being amazing, Mel went into an extended melting-death improv before admitting she was completely lost and having to be helped back on track.  For me, that moment was as life-affirming as any other artistic high I have had.  It created a community in an instant.  We were all in on the game and everyone was celebrated.  During my time writing The Lyric pantos there were countless moments like this – as upliftingly ridiculous as they were alchemically profound– and they could only ever possible in a pantomime.  This is because there is no form that is as collaborative; from the choreographers and composers to the Dames who bring their own material.  And audiences are the prime collaborators – they know the stories, probably guess some of the punchlines, literally affect the action and even know some of the age old lines (‘Oh, no they don’t!’).  At its best, panto is larger than life, gender-bending misrule, organised chaos, and riotously fun.  For many people in this country, it is there first experience of theatre and I struggle to think of a warmer introduction than a good panto.’

Morgan Lloyd Malcolm – Lyric Panto writer, 2009, 2010, 2011 and 2012

‘I think my fave memory is sitting at the back of the stalls with Joel Horwood watching a schools performance of Aladdin.  The kids were having a great time but the biggest reaction came for a five second blast of Gangnam Style which made them all leap to their feet shouting and dancing.  I remember Joel and I looking at each other and laughing that it wasn’t any of our carefully crafted gags that got them – it was bloody Gangnam Style!!

But on the topic of the school shows they were always my favourites.  I used to love watching them file in and sitting down and the teachers were always telling them to shush and sit still and then we’d start the show and immediately tell them they could shout and dance and their faces when they realised this was everything.  I’m so proud of the pantomimes me, Joel, Steve, Tom and Sean and all the incredible casts and creative teams made together.  Those four years hold a very special place in my memories.’

Caroline Meer – Lyric Panto DSM, 2009, 2010, 2011, 2013, 2015, 2017, 2018

‘The Lyric Panto is a highlight of my working year and continues to be amongst the busiest and most rewarding shows I work on. Written and designed from scratch each year with only three weeks’ rehearsal, it’s a tour de force for all involved. I’m proud to work on a show that caters to all age groups and is often the first piece of live theatre kids come to see. A favourite memory is the first time Aladdin magically floated above the audience on the flying carpet back in 2011, but my favourite story is “Dick Whittington”: a surreal family tale with an element of truth. You get a proper evil baddie to boo with King / Queen Rat, crazy locations ranging from the streets of London to the bottom of the sea, and a chance to learn a bit of real British history. Not many panto stories involve a hero who actually wants to change things for the better – something we should all try to emulate – let alone a life-size talking cat!’