By Tanya Batson, Staff Reporter 
Miss Annie (Nadean Rawlins) is completely petrified by her last husband Albert (Peter Heslop) in a scene from 'Miss Annie', the current pantomine. – Winston Sill Photo
WHEN THE Little Theatre Movement (LTM) opened Miss Annie at 6:00 p.m. on Boxing Day, they continued a 62-year-old tradition. The pantomime has been very significant to Jamaican theatre in particular and Jamaican culture in general.
Even so, as with all traditions and institutions, the question must be asked, is it still relevant, or does it continue only because it is tradition?
In recent years the pantomime has received a great deal of criticism, much of which suggests that more recent productions are of a lesser quality than those of earlier years. At the launch of Miss Annie last year, the writer, Barbara Gloudon, made reference to these criticisms. She pointed out that the idea that the pantomime has been the same production for the past few years is untrue.
However, if the pantomime is being viewed as repetitive and/or redundant, are young actors still viewing it as a relevant and important vehicle for presenting their talent?
Along with being a vehicle for Jamaican culture, the annual pantomime has also helped to showcase Jamaicans. Names such as Louise Bennett, Charles Hyatt, Ranny Williams, Lois Kelly Miller and Oliver Samuels have, over the years, became synonymous with the event, through their work in numerous productions.
The annual pantomimes, which used to be the longest running productions in Jamaica, helped to give the island many of its great stars. The pantomime helped to either give many actors their start, or helped to boost their fame by bringing them to national attention.
In an earlier interview with The Gleaner, Charles Hyatt spoke of the rise of Black Jamaicans to the fore of the pantomime performers. "When I went into Pantomime for the first time when I was invited - to join the cast of the Pantomime for the first time, it bore no resemblance at all to what you have today," he said. "It was white, with some... well, it was a white bun with some raisins in it. But then, the renaissance period, it gradually became a fruit cake, with... no white flour."
Hyatt remarked that the change in the pantomime was more than in the colour of the players, whether principal or chorus. "The chorus was now black. The principals were black, the whole damn thing was getting black and the story was black - Anancy, yuh know. And I thought - Jesus! Look at what has happened... It's like putting in a piece of garment in the wash and it runs. And what yuh put in and what yuh tek out is two diffrant thing, jus in the moment that you are there. But the fabric remains the same. The colour gaawn... Sometimes, of course, the fabric might have changed too."
This change in the pantomime, with it becoming a vehicle for Jamaican expression and telling Jamaican stories, made it particularly important to the masses of Jamaicans who came to see the productions each year. As a result, being invited to be a part of the pantomime was important to a performer because of the exposure it brought, as well as because of the experience and the importance of the stories told. As such, even those actors who did not start their careers in the pantomime, or become great stars through it, may have benefited from the pantomime with the increased experience being in the productions brought.
For many, being in the pantomime was no less than a lifelong dream. In his recently autobiographical play, Bellas Gate Boy Trevor Rhone made reference to his own attempts to get into the production. As he described how he snuck into three consecutive pantomimes, it was clear that during the renaissance of Jamaican theatre, especially in the pre-Independence era, it was a very important step in an actor's career.
Michael Nicholson, now popularly known for his role as 'Stringbean' on Royal Palm Estate, notes that becoming a part of the pantomime was a dream that had been inspired when he watched the shows as a child. He also argues that for him it was a great vehicle to gain exposure and experience after leaving the then Jamaica School of Drama. Nicholson performed in 11 pantomimes, including Trash, River Mumma and the Golden Table and King Roots, and has no regrets. He noted that when he was young, the magic of pantomime was 'bigger than life'. Unlike the critics of the newer productions, Nicholson believes that this magic continues to be there for today's youngsters.
Volier Johnson believes that being in at least one pantomime is the dream of every Jamaican actor or actress. Although he began his acting career in Trevor Rhone productions, he looks back fondly at his time in seven pantomimes. He remarks that the good thing about the pantomime is that each year it is different. "Every year the pantomime produces something different; some people like it, some people don't," he said.
Despite his enthusiasm for the pantomime, however, Nicholson did not become a household name through his performances in them. "I made a name for myself and am no longer just a guy in the pantomime," he explained.
The likelihood of being 'just a guy in the pantomime' increased when the LTM Company was created. The creation of The Company stemmed the creation of the star. The programme for Miss Annie makes no mention of principals and chorus. It simply refers to 'The Company', whose members are then listed in alphabetical order.
There is no star.
Barbara Gloudon does not see the lack of individual 'stars' as a problem; actually she sees it as an improvement. Gloudon remarked that under the old system, new talent would have to fight to get seen because of the staples. "Now the ensemble is the star," she said. "We keep being asked 'Where are the stars?' I don't know where they are," she explained further.
Nadean Rawlins, who played the title role in Miss Annie is not daunted by the fact that the ensemble is what is important. In fact, she sees this as a good thing. Rawlins has been involved with the pantomime for seven years and notes that everybody is on equal footing. She remarked that it is not a problem for the current members of The Company, because they are aware of the situation from the start.
However, this new anonymity is not suited to everyone. Rising actor Orville Hall noted that simply being a member of The Company is not enough for him and is part of the reason he is not interested in being a part of the pantomime. He remarked that this may be a deterrent to actors who want to become established.
Hall, who teaches in the department of the Performing Arts at Excelsior Community College, notes that though his students would gladly be a part of the pantomime for the exposure, he has noticed no special desire to be in it in them either. According to Hall, his students do not see the 'magic' of today's pantomime productions. He says that to them the pantomime has lost its 'excitement'. Hall pointed out that some of his current students have looked at the music, dance and drama presented in the comedy Cindy-Relisha and the DJ Prince and remarked that should have been the pantomime.
Hall is not the only young actor who does not see a future at all linked to the pantomime. Rishille Pelicié has also never performed in a pantomime and has no wish to. However, her reasons are very different. Pelicié, who was nominated for a 'Best Actress in a Lead Role' in the 2002 Actor Boy Awards, avoids the pantomime because she believes that it has become mediocre. "I don't think the quality of the production is high. I don't think the quality of the script writing is high," she explained. "I'm quite anti the pantomime now, because it has not facilitated the growth of the talent of upcoming artistes."
Pelicie argues that despite the numerous productions, the pantomime provides no avenue for upcoming scriptwriters or songwriters. Because of this, she believes that what has happened is that there is no great difference between the yearly productions.
To some degree, Johnson agrees with this criticism. Although he did not say that the pantomime deliberately does not facilitate up and coming talent, he pointed out that it could benefit from having different writers.
Although Donald Anderson chose to participate in only a single pantomime, he believes it continues to be relevant culturally and to the acting community. Anderson, who was recently nominated for a 'Best Actor in a Supporting Role' Actor Boy award, pointed out that his appearance in Schoolers Two helped his career. One of those actors who wanted to be in the pantomime since childhood, he notes that actors continue to look toward the productions as their path to stardom. He noted however, that actors will make decisions based on the kind of theatre they want to be involved in.
Denise Hunt also sees the value of the pantomime, though she has not participated in any. She notes that she auditioned twice, but was not accepted. Her attempts to get into the company were prompted when she was advised that the pantomime was a good way to get her toe into the theatrical door. Nonetheless, she has found more than a toehold on the stage, and does not regret not having been accepted in the pantomime. Even so, she remarks that she would have loved to have tried that style of theatre.
Having made it without being in the pantomime however, she realises that it is not the only way into theatre. Although she would have liked the experience, she believes that she can succeed without it.
Gloudon remarked that being in the pantomime is particularly beneficial because it is a constant training ground. She pointed out that The School of Drama began with The Little Theatre Movement and the LTM continues to train all the members of The Company.
Rawlins, who has not been formally trained in theatre, remarks that she has benefited from this continuous training. "The pantomime, that was my school," she said. She noted that she came to the pantomime because of a love for the stage rather than a love for the pantomime itself.
Anderson believes vehemently that the pantomime will remain relevant. "You can't discount the pantomime," he said. "It is one of our trump cards. People wanted to come because it showcased our culture. We made it ours."
Of course whether it continues to be ours depends on whether it continues to tell our stories. This also depends on its maintaining the interest of the country's actors.
