Dialogue (lines of speech between two or more characters) is the core of any script for the stage.
In a panto every word counts. Punchy, witty, pace-driven dialogue captures the attention of audiences young and old, and carries it through the production to the finale.
If your dialogue is sluggish, uncertain or dull the production will struggle to keep pace. And you risk audiences becoming bored and looking around, chatting, even picking their noses(!)
Breaking up long dialogue
If a scene or routine is particularly dialogue-heavy, identify these areas up front. Bump them up the rehearsal schedule so you can tackle them early on in the process.
This means they will be learnt quickly by actors – a key element to consider when getting a zippy scene on its feet – and that you’re prioritising tackling the most difficult sections first, meaning rehearsals should feel as if they’re getting easier.
When rehearsing large sections, break them down into smaller sections. Consider where there are gags that need highlighting, these can be handy to help break up the pace.
It’s also worth checking that everyone involved understands what’s happening in the scene. Who holds the power in the situation depicted, what does each character want in the scene, and which important plot points are covered in the dialogue.
A great example of this where it’s imperative is in the last big plot scene of most pantos. It’s when Cinderella is finally revealed as the princess from the ball, or Snow White awakes from her poisoned sleep.
Adding physical comedy
Pantomime is an extremely visual medium. Physical comedy is often present throughout, and knowing when to use it and with which character is essential knowledge for a director.
Some character archetypes sit more naturally with physical comedy. The comic or comedy duo, skin/animal roles, and sometimes the dame, villain and fairy all participate.
It’s more unusual for your principal leads or King/Baron type characters to partake in physical comedy.
Another question to ask is whether the physical comedy is helping to tell the story. Does it communicate to the audience what a character wants in a scene?
For example, when Dame Trott is trying to milk her cow in Jack and the Beanstalk, often the cow doesn’t play ball because they don’t want to be milked. And this plays out in some physical comedy between the characters.
Occasionally using physical comedy during an important emotional moment or another plot point can feel distracting to the core story. Not everything needs to be funny (as long as lots of it is!)
Inserting musical breaks
Music can be used to enhance a sense of feeling in a scene. It can help us communicate to the audience different parts of the story that are happening on stage.
For example, when the villain encourages Aladdin to help them access the magical cave, we know they have dangerous intentions. So the music that accompanies this sequence could be foreboding in anticipation of that.
Or when Sleeping Beauty is about to prick her finger on the spinning wheel, anxious strings and a low bass could creep in heightening the drama of the moment.
Elsewhere, underscore can be used to give slosh scenes a backing which keeps the energy going and removes energy sapping silence. You can usually theme the music, too.
Take a slosh scene in the galley of a ship as sometimes featured in Dick Whittington or Peter Pan. We used an instrumental edition of ‘Sit Down You’re Rocking the Boat’ from Guys and Dolls.
How to keep energy levels up
One of the most frequent problems I see in scenes which are unrehearsed is a lack of energy or pace. There are several simple things you can do to avoid falling into this trap.
The first is to concentrate on delivery. The key is not to speed through the line itself, but to pick up cues quicker. Reducing the gaps between lines has a huge impact on the way audience experiences pace.
To help you do this, you can organise speed line runs with the cast where the idea is not to act out a scene on stage, but instead to sit opposite each other and run the lines at speed to help the brain better learn those pathways.
Take the comedy duo in my version of Rapunzel for example. Without tight, energetic dialogue, their scenes could risk feeling slow. But with their natural banter and actors who pick up their cues, it flies off the page!
Rehearsal strategies for big monologues
In Panto, big monologues often take the form of comedy open spots for the comic or dame, and narration or plotting by the fairy and villain. Think Mother Hood, the dame in my version of Robin Hood for example.
These sections of monologue can be daunting at first, but you are able to support your cast by helping them break down the monologues into manageable chunks.
Break up the monologue into individual threads of thought. Normally these are a sentence or two long. This helps to identify the turning points where the character is switching thoughts or feelings.
Identify anything that’s important to punch out for clarity. Place names, character names, key plot exposition. This helps add further flavour, and ensures important information for the audience is highlighted.
Conclusion
Taking these tips and tricks into account when planning and rehearsing your dialogue, you’ll keep the audience entertained and on the edge of their seat throughout your Panto.
Got tips of your own? Let me know by getting in touch.
