Festive Spirit Takes the Stage
Dressed in a blue gingham dress, sporting an extravagant wig and “hideous yet age-appropriate leisure shoes,” Dorothy Blawna-Gale, a creation of renowned Scottish pantomime artist Johnny McKnight, takes center stage. This sharp-tongued, lascivious, and endearingly humorous pantomime dame captivates audiences with her lively performance.
A Unique Experience
While typically seen during the festive season at attractions like the Tron in Glasgow and the Macrobert in Stirling, this performance arrives out of season, aiming not only to entertain but also to educate. Originating from a lecture at the University of Glasgow in honor of the late Alasdair Cameron, a noted advocate for popular theatre, McKnight and director John Tiffany have infused the show with songs, sweets, and extensive audience interaction, celebrating the radical potential of pantomime.
A Personal Journey
The delightful humor of the performance is complemented by McKnight’s personal narrative. He shares a poignant journey that begins with his childhood memory of seeing Johnny Beattie at the Ayr Gaiety, where he realized that “You don’t just see panto; panto sees you.” McKnight reflects on his initial experiences as an actor, stepping into the role of the comic silly billy and concealing his true self behind a character defined by asexual charm, eventually leading to his first portrayal as a dame in 2006.
Breaking Free from Tradition
However, McKnight felt constrained by the conventional framework of pantomime. By adhering to outdated tropes and tired clichés, he stifled his authentic expression and diminished the form’s potential for subversion. Determined to transform pantomime, he began to challenge established norms, addressing gender balance and embracing his own sexuality. By 2018, he was boldly featuring two male romantic leads in ‘Mammy Goose’, a move that not only resonated with audiences but sparked their demand for more inclusive storytelling.
Facing Challenges
Throughout his journey, McKnight encountered various societal issues, including sectarianism and homophobia. Nevertheless, he remained committed to his principles, always aiming to “punch up,” thoughtfully considering his choices, and advocating for marginalized voices. In doing so, he revitalized pantomime’s rebellious essence, making it vibrantly his own. Oh yes he did.
