So, if you've read my first diary entry, you'll know why I decided to embark on this production of Twinkle. But I thought it might be fun for you all to see how the show has been coming together since we began rehearsals back in September.
The Script
Any movie, TV show, or stage play/musical relies on a lot of different moving parts all coming together to help create the production as a whole. But where does any production begin? With the script.
I'm fond of this saying but it's true: the script is your blueprint. It's your foundation and the foundation has to be solid in order for the house to stand. Luckily, we have a very solid foundation in Philip Meeks' wonderful script. It's one of the major things that attracted me to the play in the first place; the character of Harold Thropp is an absolute gift to any actor. You really run the gamut- there's humour, pathos, darkness.
John Inman as Widow Twankey in Aladdin
Philip was inspired to write the show after seeing a poster for a pantomime where John Inman (star of Are You Being Served? and one of the finest pantomime dames in the business; I saw him play Widow Twankey in Cardiff in 2003 and he was superb) was placed down the cast list in favour of someone who had won that year's Big Brother. Showbiz royalty shunted aside for a flash-in-the-pan reality TV contestant. You can feel the tension in that sentence, can’t you? That tension gets expertly teased out throughout the show.
Another aspect of the play that really resonated with me links into a couple of moments of British LGBTQ+ history. Harold was born at a time when homosexuality was still illegal in the UK (it was only decriminalised in 1967). The play explores how men met under the threat of arrest and worse, and what that will do to a person’s psyche. It’s unflinching and it’s tough to hear in places. But I could feel the echo of Harold’s early life reflected in my own.
A selection of button badges opposing Section 28
Growing up gay in the 1990s wasn’t easy, thanks in large part to the utterly draconian Section 28. This was an amendment to the Local Authority Act of 1988 put in place by the Conservative government (led by Margaret Thatcher) which stated that local authorities could not “intentionally promote homosexuality”. This was in place until 2003 in England and Wales (it was repealed in Scotland in 2000). A generation of queer kids (me included) couldn’t get the help and support they needed from their schools because the schools would have been seen to “promote homosexuality” and that wasn’t allowed. I know it’s different because I wasn’t going to get arrested because of who I fancied, but going through that time has left its marks, not just on me but on a lot of people. All of the recent divisive anti-trans rhetoric gives a sobering reminder of that time, and the time before.
As well as its thoughts on fame and the art of performance, Twinkle also tells an important story about queer history; a story that needs to be told.
Director
Chris and I running through some notes (photo by Teddy Smith)
One of the things I was definite about when we began this project was that I wanted a director. I might have been able to direct myself as well, but I felt a fresh pair of eyes on the script would be very much worth having. Because this is very much a passion project for me, I knew that I was potentially too close to the script and needed an impartial view.
Due to family life and other commitments, my brothers-in-arms at Watchers Productions weren’t able to give up the time needed, but have acted as producers for the show. I then approached Christopher Maxwell, one of our friends and colleagues at Dramatic Moose Productions, to see if he was interested. Chris directed their recent production of The Universe PLC which had been very impressive, and I’ve worked with Chris on several productions before when we were both actors.
Chris luckily said yes but that he was appearing in a play in London (TALK) at the beginning of September 2024. Knowing that we had a month’s extra time- as the show was in December, rather than November- I said I’d be more than happy to wait to start rehearsals until he had done that. It also gave me a little extra time to start learning my lines!
Chis has been a fantastic director. We discussed the shape of the play – as it is one long monologue – and broke the script down into discrete “units” to focus on the blocking. We have given the units titles (some of which include “Dressing Rooms”, “The Day Cilla Spoke”, and “Enter The Widow”) and have discussed things like motivation, action and pacing. We’ve then built in the other elements, like costume and make-up, to create the play itself. We’ve played about with accents – as Harold occasionally reports what other characters have said to him, it was important to us both that these characters had their own individual voices, so they came to life and provide the audience with something different to listen to. I only use my own natural voice/accent for one character (spoiler alert: it’s not Harold!).
Director Chris Maxwell hard at work (photo by Teddy Smith)
I can’t thank Chris enough for helping me out with this. He’s come up with some great ideas, things I wouldn’t have thought of, which have really helped to bring Twinkle to life. Cheers, Chris – you’re a star. You definitely need to do more directing in the future; any production would be lucky to have you in charge of it.
Make-Up
One of the other things that attracted me to Twinkle was the technical challenges that the play presents. When Harold enters the stage at the beginning, he is an average nondescript-looking man. By the time the curtain falls, he is transformed into The Widow- and that transformation takes place on stage before the audience’s very eyes. So the make-up and costume are very important aspects of the production.
Crucially, the script doesn’t prescribe when the make-up is put on; it’s down to the actor to work that out. It also doesn't prescribe what type of make-up needs to be done. So each production has free rein over how simple or elaborate they make it.
Nothing Like A Dame: clockwise from top left, Arthur Askey; Les Dawson, Mike Doyle, and Ceri Dupree
One of the major things about pantomime dame make-up is that the performer isn’t necessarily trying to “pass” as female. Even though the character is presented as a woman, the dame is very much “a man in a dress” (the inverse of the pantomime’s “Principal Boy”, who is played by a woman). That said, elaborate pantomime dame make-up, when viewed up-close, can be quite startling, as it’s designed to be seen at the back of the auditorium! But you don’t have to go that big; when comedian Arthur Askey played pantomime dames, he would only wear the usual stage make-up (foundation) rather than adding lipstick, eyeshadow, and mascara. Les Dawson would do the same.
I have a memory from childhood of seeing a local amateur pantomime where the actor playing the dame kept his moustache! Over the last couple of years, there’s been a movement- moreso in drag circles- where performers’ facial hair is kept. People who know me know I usually have a goatee beard; I first grew it when I was in my early twenties and have kept it since. The last time I went cleanshaven was back in 2015 (again for a play). I did toy with the idea of keeping my beard and potentially zhuzhing it up with a bit of glitter... but the script makes it very clear that Harold is a traditionalist. Throughout several points, Harold mentions “tradition” – and tradition would dictate a cleanshaven dame. So I have been without my beard since the end of July. The things we do for art...
Me usually vs. Me for Twinkle (photos by Craig Harper and Teddy Smith)
As you can see, I look very different without my facial hair. I look younger for a start. This may be something of an issue as I’m already around 20 years too young to play Harold; don’t let the youthful visage fool you, I’m actually in my mid-40s. I know, you’d never believe it (LOL). But the reason I have remained cleanshaven for so long is because of the need to practice the make-up.
I’ve been very fortunate in the past that, a couple of trips to The Rocky Horror Show notwithstanding (where my make-up was applied inexpertly at best), I’ve always had make-up done for me if I’ve needed it in a show. So the idea of doing pantomime dame make-up live on-stage is the element that’s given me the most anxiety. Thankfully, I know a couple of very talented make-up artists and one of them, Vicki Rowe, has very kindly designed the make-up for me and has taught me how to do it. If it looks wonky on the night, that’s all down to me: I suffer from a condition called “absolute cackhandedness” (which I believe is the technical term) and- joking aside- I do currently have a little bit of a vision problem in my right eye, which has meant I’ve had to tweak the design just a little. But I’m incredibly grateful to Vicki for giving up her time (and letting me borrow her materials) to teach me this most important skill.
Costume
The dame costume is also an important part of the transformation.
Here, the script gives some clues as to what the costume should look like: a black wig that’s “basic, functional”, black slip-on boots with a little kitten heel, clean white gloves, and a dress which is described as having “seen better days”. With these hints, we’ve been able to build the look for the Widow. In traditional pantomimes, the dame’s costumes often (but not always) start out relatively plain and increase in fabulousness as the show goes on, leading to an extravagant finale look. Knowing we are at the beginning of the dame’s journey meant I knew I wasn’t looking for something that wouldn’t have looked out of place in Danny La Rue’s wardrobe. There was some debate about whether to hire or buy a costume, but I decided I’d need something to rehearse with (even if it wasn’t the costume I would be using for the actual show). So I had a look online to see if I could find something. Obviously, I’m a bigger bloke so trying to find something that would fit me was going to be a challenge. Luckily, I found someone on an auction site who was selling a lot of theatrical costumes and found something a) suitable and b) that would fit me comfortably. I put a bid in and won.
The Widow's costume
I’ve even had to reconsider my underwear for the show. Without getting into too much of a TMI situation (although I fear that ship may have already set sail), my usual choice of underwear is Oddballs boxer shorts which are often brightly coloured and patterned. And by the very nature of the play, I do spend some parts of it in various states of undress, so I’ve had to ensure that I have “decent undergarments” more befitting a gentleman of Harold’s age and outlook. I hesitate to use the phrase “Bridget Jones granny knickers” but if the pants fit...
But it’s not just the dame outfit that’s an important piece of costume for the show. Oh no. There is another essential piece of clothing that you need if you’re going to play Harold Thropp. One that, fortunately, I still had from another show I’d done. It just required a little something extra added to it to make it perfect. Intrigued? Come see the show to find out what I’m on about.
Tickets are still available for all three nights, although Saturday evening is selling well with Friday close behind. Due to technological limitations, we are unable to sell tickets on the door so pre-booking is essential. The Ticketsource link will be available until 5pm on the night of each performance.
There’ll be one more Twinkle diary to come, after the show has completed its run.
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