OH YES IT IS!
ARTS + ENTERTAINMENT
JOSEPH GARDNER HODGES- PRODUCER AND DAME FANNY
Five years as both producer and Dame Fanny – how has your approach to the role evolved, both on stage and behind the scenes? Time flies when you’ re having fun! As the show has grown and evolved, we’ ve had to match that with our creativity, ensuring audiences receive a bigger and better production each year. Jay, Gemma and I spend around 18 months preparing for each panto, and we’ re very fortunate to share the journey with a team of superstars behind the scenes who we’ re honoured to call our friends- they make the evolution what it is and support us through all the hard work.
What’ s the biggest challenge of wearing both the frock and the producer’ s hat? The frock isn’ t a problem, but the three-inch heels and false lashes are! It’ s sometimes hard to switch off from producing and just perform – I’ m such a control freak that I often find it difficult to let go.
Which moment from the past five years still makes you laugh every time you think about it? We were in the middle of the ball scene during Cinderella when my darling( ugly) sister, played by the sensational Dudley Rogers, decided to drop into the splits ahead of our quickest costume change of the show. I was stuck with one of life’ s greatest dilemmas – do I help darling Dudley up or go for the change? Needless to say, I entered my next scene looking flawless and Dudley thanked the ensemble later.
What’ s the most outrageous costume you’ ve ever nearly worn on stage but didn’ t? Fanny likes bikinis. Will she finally wear one this season to celebrate five glorious years?
If you could sum up this year’ s Sleeping Beauty in three words, what would they be? Why should audiences not miss it? Magical. Festive. Fun. If you’ ve seen our previous pantos, you already know the treat you’ re in for. If you’ re new to the legendary Malthouse panto, prepare for the highlight of your festive season … and with seats from just £ 10, who could ask for anything more?
JAY GARDNER HODGES – DIRECTOR AND CHOREOGRAPHER
Sleeping Beauty has a very different tone from some other panto stories – how are you balancing the romance with the big, high-energy numbers audiences expect? We always try to give audiences the classic story with a modern twist, and storytelling is really emphasised in our scripts. After reading a draft of this year’ s pantomime, I’ m excited to explore its modern edge. The musical numbers are always a big focus for us and Joe and I sit down to discuss song options at length to ensure the script and songs flow seamlessly. In essence, the highenergy numbers should land in the right places to enhance what is happening and never detract from the story.
What’ s been your proudest‘ creative risk’ over the years that really paid off? When we produced Cinderella, we included a subplot where it was revealed that Dandini and Buttons were an item. I think it’ s really important that pantomimes hold onto traditional values, but we’ re also moving with the times and reflecting our modern-day audiences on stage. It got an‘ aww’ each night and audiences responded so warmly. My husband( Dame Fanny) and I are happily married, and as the producers we had the chance to represent ourselves in a classic story where we otherwise don’ t exist – that felt very special. We had a lot of people reach out to thank us for including this minor storyline as it meant something to them, which was very touching.
If you had to direct the cast in total silence, only using dance moves to give instructions, what would be your go-to‘ get on with it’ move? Something simple and universally understood: the classic‘ jazz hand’!
Which has been trickier over the years – teaching Jangles to dance or teaching a Dame to behave? Teaching Dame Fanny to behave – you never know what she’ s going to get up to.
GEMMA WRIGHT – MALTHOUSE THEATRE MANAGER
How has the Malthouse / Gardner Hodges partnership grown over these five years and what’ s been the key to making it work? Partnerships like this don’ t come along often. Working with Joe and Jay is inspiring- they push ideas further, keep the team motivated and somehow make the impossible look effortless. Over the years, we’ ve grown together, become true friends and kept the magic alive. The secret? Trust, respect … and a love of frozen margaritas.
From a venue perspective, what’ s the biggest difference between hosting a panto and other theatre productions? Chaos, laughter and sheer energy – all turned up to 11. We go into full festive mode: two sold-out shows a day, flashing wands flying off the shelves, confetti everywhere and a constant soundtrack of Christmas tunes. Panto can be noisy, unpredictable and exhausting, and we wouldn’ t have it any other way. It’ s the one production where the entire theatre, audience included, becomes part of the show.
What’ s the most unusual audience reaction you’ ve ever witnessed during a panto performance? As theatre manager, maybe I shouldn’ t admit this, but I love it when something goes slightly off-script and the audience notices. Watching our brilliant cast improvise and make it look effortless while the audience is in stitches and the crew works their magic backstage is always a highlight.
If the Malthouse Theatre itself could take a bow at the end of this year’ s show, what would it say to the audience? It would probably ask( in the words of our fabulous Dame Fanny):“ How do I look, Canterbury?”
If you could sum up this year’ s Sleeping Beauty in three words, what would they be? Why should audiences not miss it? Dreamy, hilarious and magical. It’ s a fairy tale with a cheeky twist, full of surprises and guaranteed to keep everyone on their toes – no napping allowed! www. insidekent. co. uk • 43