Robert Gore-Langton

The art of the panto dame

Robert Gore Langton talks to Britain’s finest practitioners about bosoms, blue gags and whether the panto dame will survive the culture wars

Grande dame: Clive Rowe in Mother Goose at Hackney Empire. Credit: Manuel Harlan 
issue 17 December 2022

There is nothing more panto than a dame. The grandmother of today’s dames is Dan Leno (1860–1904), a champion clog dancer and music-hall performer, not much taller than Ronnie Corbett. He was preceded by others, notably James Rogers, who in 1861, in Aladdin,played a character called Widow Twankey, named after a cheap and revolting tea. But Leno was the first modern prototype dame – a befuddled genius in a frock with a fantastic line in patter. He created the role of Mother Goose in a play written for him by J. Hickory Wood and starred in a legendary run of 16 pantos at Drury Lane that finished him. He died insane and an alcoholic at the age of 43 – a warning to his artistic descendants.

Fast forward to Theatre Royal Plymouth, 1992. Les Dawson is playing Ada the cook in Dick Whittington with russet hair buns and his trademark grimace: ‘Good evening, boys and girls of all ages’… pause while he adjusts a buttock… ‘My piles are killing me.’

Comments

Join the debate for just $5 for 3 months

Be part of the conversation with other Spectator readers by getting your first three months for $5.

Already a subscriber? Log in