Allan Stewart marks his golden year in panto, a 50 season milestone that has shaped Scottish entertainment for half a century. Here he reflects on the craft, the graft and the joy that keeps him coming back.
Did you grow up going to the panto yourself, and did those early trips as a child shape what you do on stage now?
Allan: I did my first panto at the Pavilion in Glasgow in 1975, and I had never seen a panto in my life up until that time. I had always been working in the clubs as a young boy and didn’t know or understand the theatre world. So I went in as top of the bill with a completely open mind. It was difficult but because I didn’t know any of the traditions of panto I changed the whole feel of the show which was what they wanted. But I quickly learnt about that world from the wonderful Jack Milroy.
Who were your comedy inspirations when you were starting out, and do you still feel their influence in the way you work today?
Allan: I was mentored by a wonderful comedian Jack Radcliffe who was a big Scottish star. He took me to all of his shows and paid me out of his own pocket to support him. But my main influence was my Dad who knew nothing about show business but was a very funny great man.
This year marks 50 years of panto. Looking back across those decades, what has changed most, and what has never changed at all?
Allan: The biggest change in the 50 years is the standard of production. This year in Jack and the Beanstalk we have the London Palladium production which is wonderful. When I started we had organ and drums in the pit and one microphone at the front of the stage. So when you see the massive props, crocodiles flying carpets, flying Cinderella carriage you can see how far we have come. Also they are the standard of a major musical production now.
You write the show as well as star in it. Does panto ever fully leave your head, or is it always ticking over in the background?
Allan: I actually only write the comedy not the story. Although Grant, Jordan and the director Ed all have input. But I start thinking about the next panto well over a year in advance. I see something which triggers an idea and I write it down. Then about April I start writing the parodies and sketches and I then slot them into the story. So yes, I’m always thinking
You are writing for children, parents and grandparents at the same time. What is the hardest part of landing comedy for three generations without diluting it?
The chemistry between you and Grant Stott is always one of the great joys of the show. How do you keep that spark alive year after year, especially after the loss of your great friend and long-time collaborator Andy Gray?
Allan: I first worked with Grant in 1993 in his first panto at the Kings in Glasgow, and it’s been wonderful watching him grow into the great panto villain he is now. He has soaked up everything through the years and is now a very important part of the team. Of course we all miss Andy. We were literally partners in panto for 20 years and thought like each other. We both knew exactly what each other was going to say and when to step back and give each other the floor. I think we keep it fresh because of our love of pantomime and the love of listening to the audience roaring with laughter. And so we work hard throughout the year watching for new trends and ideas.
Your energy on stage is extraordinary. What does the audience not see behind the scenes that allows you to sustain that level of performance night after night?
Allan: The main ingredient for that energy is something that old pros have talked about for years. It doesn’t matter how bad, tired or ill you are feeling ‘Dr Footlights’ gets you through it. That’s a way of saying the audience will carry you through your problems. I have been in pain. I have had the cold, the flu and many other unmentionable problems and when I walk out there I get through it. I have only been off once and that was when I totally lost my voice.
This is your final panto in the Festival Theatre before returning to the King’s after its major renovation. How excited are you to get back to the King’s and what does that theatre mean to you personally?
Allan: I did a variety show in the Kings in the early 70’s and then throughout the years I appeared in plays musicals and of course panto, so to go back there is going to be very exciting. However I have loved being at the Festival. It’s a very warm room and the reaction from 2000 people is special. But to walk in that ’new’ stage door for the first time will be a wonderful moment.
When the time eventually comes to take a step back, how would you most like Scottish audiences to remember Allan Stewart?
Allan: We once had a panto review that said ” in years to come people will say do you remember the wonderful Kings pantos with Allan, Andy and Grant’” and if I could be remembered in the same breath as Stanley and Ricki I’ll be happy.
Credit – Emma Kate Miller at Hood Magazine
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