panto

Head to Metro for Panto

Lucas Gregory, left, and Daniel Cardoso, in Metro Theatre’s Snow White: The Panto, which runs until Jan. 3. (photo by Nicol Spinola)

“A lot of musical theatre is inherently silly and fun but it still doesn’t reach the level of a holiday panto,” said Daniel Cardoso, who plays the Prince in Metro Theatre’s Snow White: The Panto. An annual treat for more than 35 years, this year’s panto, which runs until Jan. 3, has added significance.

“The past year and a bit has been challenging, not only for the arts community, but for everyone,” said Cardoso. “I got to go to an opening night of a show last week and part of me had forgotten the energy of getting to be in an audience and the joy that it brings to people to get to go to live theatre. I hope that we can do something similar with the panto and that we can act as another step in a return to normalcy.”

“I love being back with the theatre community after so much time away,” said fellow Jewish community member Kat Palmer, who is stage manager of the production. “I think most of the team feels this way. So often actors would be finished working their scenes but would choose to stay a little longer to watch and support their fellow cast members rehearse. There is this sense of returning to what was and that’s been quite moving.”

Things aren’t completely back to normal, of course, as COVID is still is concern.

Metro Theatre requires proof of vaccination, said Palmer. “Usually, pantos have lots of kids and an ensemble – our show has a much smaller cast with no children,” she said. “Everyone – cast, crew and staff – is fully vaccinated. We have taken our inspiration from film sets and have rapid COVID tests on hand. Usually, kids in the audience get to come up on stage – we can’t do that this year. Luckily, there are still lots of opportunities to participate by booing and cheering our demon and good fairy.”

For Palmer, Snow White was “always a favourite growing up – I think mostly because she had black hair like me. But the traditional story is a little dated. Erik Gow, our writer, has done a great job breathing new life into this script. In our version, Snow White is spunky, independent and doesn’t need a prince. She takes charge of her own destiny.”

That said, the prince is still an important part of the story, and it was Palmer who suggested Cardoso try out for the role.

“I’ve known about the Metro Theatre since I was in university and have often gone to see shows there, but the panto this year is the first time I’ve gotten to work there,” he said. “I came to Snow White when Kat Palmer … reached out and asked me to audition for it. I hadn’t initially planned on it but it was an opportunity to work with Chris and Kat and Suzanne again, so I’m glad I did.”

Chris Adams is the director of the production, while Suzanne Ouellette is the choreographer.

Cardoso is a graduate of the musical theatre program at Capilano University and has been working in theatre around Vancouver since 2011. “I was also lucky enough to work on Disney Cruise Line for a few years,” he said. “In 2016, I went back to school to become a registered massage therapist and have been doing that in addition to theatre since 2018.”

While not raised attending shul, Cardoso said his mother and her family are Jewish, “so it is definitely a part of me that I am proud of and something that I think I will always want to learn more about and explore. I know it sounds cliché, especially for a theatre performer, but getting to do a production of Fiddler on the Roof (Gateway, 2012) was a special experience for me in that I got to play in that story and feel like I belonged there instead of just pretending like it.”

For tickets to see Cardoso as the Prince that Snow White (played by Scotia Browner) may or may not need to help her, visit metrotheatre.com. The panto promises to be a “zany and uproariously funny family pantomime,” but that’s not the only reason to check it out.

“The theatre community is hurting right now. We are trying to stay afloat,” said Palmer. “After almost two years of silence, we need your laughter – we need your applause. Please come out and support local theatre.”

Alice’s wonder and silliness

Kat Palmer, left, and Kyra Leroux during the final dress rehearsal for Alice in Wonderland – The Panto, which opened at Metro Theatre Dec. 13 and runs to Jan. 4. (photo by Tracy-Lynn Chernaske)

“In Alice in Wonderland – The Panto, audiences will see all of their favourite characters from the original story in a new, more hilarious light,” Kyra Leroux told the Independent. The panto opened at Metro Theatre on Dec. 13 and runs to Jan. 4.

“This show is definitely a lot more silly and ridiculous than the original Alice in Wonderland story, but the difference that really strikes me the most is my character, Alice,” said Leroux, who is a member of Perry Ehrlich’s ShowStoppers and a past participant in the Gotta Sing! Gotta Dance! annual summer theatre program at the Jewish Community Centre of Greater Vancouver. “In this show, Alice has so much confidence and spunk, which is exactly what you would expect from a curious, forward-thinking young woman!

“She’s such a fun character to play because I see myself in her in so many ways. Although at first she is confused about which direction she wants to take her life, relying on others to show her the way, she soon realizes that she can make her own decisions and take charge of her own life, thereby gaining so much confidence.

“Alice loves to joke around,” added Leroux, “and, at times, even matches the absolute absurdity of characters such as the Mad Hatter, the Cheshire Cat and the Queen of Hearts. Despite feeling stuck in her confusing situation, Alice is never one to take herself too seriously, which is exactly like me in real life.”

An easy-going attitude will also help Jewish community member Kat Palmer in her role as stage manager of the production.

“Pantos definitely conjure up the phrase ‘controlled chaos.’ While there is always a certain element of surprise with live theatre,” said Palmer, “each performance of the panto is undoubtedly ever-changing, with a unique audience every night – so much of this show is determined by audience participation and the actors improvising.

“Pantos are always a family favourite,” she said, “because kids are encouraged to react loudly – they boo the Demon and cheer for the Good Fairy. As a stage manager, I might plan to call a sound or lighting cue on a certain line but, if the actor is ad-libbing or we have a particularly rowdy audience, the line may not happen when it’s supposed to. You have to be on your toes and focused all the time. Whereas musicals and plays are more set in stone, the panto will be a different show every night.”

The silliness of it all is what Leroux most enjoys.

“Throughout the process,” she said, “it has been so much fun to just let go and allow myself to be absolutely ridiculous along with my castmates. My favourite days in rehearsal are when I get to watch other actors make choices that make me laugh so hard I feel like I could explode! With that in mind, the most challenging thing about being in a panto is being so focused and in character onstage that you will never break character and laugh at what others are doing. There are so many hilarious moments in the show that even I, after seeing them over and over again, have to work hard not to laugh. That being said, I’m so excited to see how audiences will react when they see all of my favourite moments for the first time.”

For tickets to Alice in Wonderland – The Panto, call 604-266-7191 or visit tickets.metrotheatre.com.

A royal panto at Metro

Katherine Matlashewski plays Mopsy in Metro Theatre’s musical panto King Arthur’s Court. (photo by Tracy-Lynn Chernaske)

While Katherine Matlashewski has numerous acting, singing and choreographing credits on her resumé, the musical panto King Arthur’s Court, which opens tonight (Dec. 14) at Metro Theatre, will be her first pantomime.

“Unlike a traditional play, there is a lot of improv and audience participation,” she explained about a panto. “This can be a challenge because, as an actor, you never know what is going to happen.”

But it’s also part of the fun. “In any show,” she said, “everyone brings something unique to the table. In this wonderful cast [of 28], there is such a wide range in age and skill level.”

In contrast, King Arthur’s Court marks fellow Jewish community member Heather Webster’s third panto. Webster has been stage-managing at Metro for about five years now, but her connection to Metro – and pantos – goes further back.

“My first theatre experience came from my grandmother, Shirley Rose,” Webster told the Independent. “She took me to the Metro Theatre when I was 12 for my first panto. From there, I got into working backstage and learning stage craft in high school at Kitsilano from Julie Bond. In Grade 11, I began volunteering at the Metro Theatre, and have been ever since.”

Webster, who used to work as an on-call tech for the Rothstein Theatre at the Jewish Community Centre of Greater Vancouver, does stage-managing in her off-time. Her full-time job is with Purolator.

Matlashewski teaches at Arts Umbrella. “I love having the opportunity to share my love of visual and performing arts,” she said. “I believe it is so important for kids to have a creative outlet as part of their education.”

In addition, Matlashewski owns a small business, Sweetheart’s Baking, which can be found on Instagram and Facebook. “Like theatre,” she said, “my passion for baking started at a young age. This keeps me extremely busy when I am not in a show.”

At age 2, her mother enrolled her in her first dance class at Arts Umbrella. “In the years to follow,” Matlashewski said, “I continued my training in dance while also exploring theatre and visual arts. My love of musical theatre began at a very young age. Since then, I have not looked back. I feel extremely blessed to have had multiple opportunities to train with so many professionals in the industry. I am grateful to have taken part in programs such as the Arts Club’s Musical Theatre Intensive and the Pre-Professional Musical Theatre Troupe at Arts Umbrella.”

Among Matlashewski’s teachers and colleagues in the Jewish community have been Erika Babins, Perry Ehrlich and Wendy Bross Stuart, to name only a few.

“As a result,” said Matlashewski, who comes from a small family, “I have had many wonderful opportunities to connect with others in the community, create a positive support network, and learn more about my culture. I feel so blessed to be a part of such a warm and welcoming community.”

Matlashewski has also worked with the director of King Arthur’s Court before.

“Last year,” she said, “I worked with Chris Adams (our director) on RCMT’s [Royal City Musical Theatre’s] concert production of Into the Woods. He encouraged me to take part in this production.”

Adams was most recently featured in the Independentfor directing and co-producing Sweeney Todd: The Demon Barber of FleetStreet (jewishindependent.ca/experience-sweeneys-revenge). While this isMatlashewski’s first show with Metro, this will be Adams’ seventh show andthird panto with the theatre.

“I remember sitting in the audience, as a little kid, booing the demon and cheering the good fairy and then rushing to the stage after the show, just to get autographs from the cast,” he recalls on Metro’s website. “From that childhood time,” he says, “panto has kept a warm place in my heart.”

King Arthur’s Court will feature a demon and a fairy, too, along with a dragon and, of course, Arthur and the Knights of the Round Table. Chivalry and chicanery will run aplenty, and the audience will be encouraged to cheer and jeer.

Matlashewski plays Mopsy, the court jester. “My role requires me to do lots of singing, dancing and goofing around onstage,” she said. “I also talk directly to the audience at certain times.”

And, behind the scenes, Webster will be managing the chaos. For her, she said, “The best part is when I get to hear the kids talk to the actors during the meet-and-greets, and hearing their favourite parts of the show.”

For more information about and tickets to KingArthur’s Court, visit metrotheatre.com/currentshow. It runs until Jan. 5.