The Romance of Youlgrave Pantomime

The annual production that is now the longest-running, and probably the best-patronised, amateur pantomime in the County, began almost by accident in 1962.  The Village Hall, the then recently rescued from near-dereliction by the enthusiastic band of volunteers who formed the renewed committee, now had urgent need of fundraising to complement their self-help activities.

2002 - Puss in Boots - The Finale celebrates the 40th Anniversary

The previous year, a revue hopefully written and produced by the Secretary, Norman Wilson, had proved an unexpected success in two respects: it re-awakened the talent for which the pre-war village was renowned; and it revealed, perhaps surprisingly in the face of spreading television, that people still had an appetite for local entertainment.  Taking part were several veterans who had played in the series of three pantomimes produced by the Hall manager, Major Mockett, more than thirty years earlier, and fortified by their know-how, Norman Wilson was persuaded to venture apprehensively into panto the following year.  As it turned out, Babes in the Wood, written around the available talent with a strong local scenario, far exceeded all expectations and the modestly-planned run of three performances had to be extended for a following two nights.  From there on, what was conceived as a one-off venture acquired both an unstoppable momentum and a rapidly widening clientele.  It was soon playing for two weeks, had an aggregate audience approaching two thousand and was raising sufficient revenue to keep the Village Hall up and running for a good deal of the ensuing year.  And so it continued through the decades to follow, fulfilling a fourfold service: to entertain all ages; to be a vehicle for creative local talent; to serve as a centre for community endeavour; and to keep the doors open for village events.

It so happened in those early years that a young woman called Jan Horton was, herself, writing and playing the lead in pantomimes in her South Derbyshire village of Willington and, hearing of the Youlgrave success, she came to see the 1966 production of Aladdin and, by chance, met Norman.  They were married before the year was over, so as it turned out, Willington’s loss was to be Youlgrave’s considerable gain in the years to come.  Jan had a part in Norman’s next production, Sinbad, which through other commitments proved to be his last.  He was succeeded as producer by Martin Brooke-Taylor (2), Margaret Fell (2) Steve Walker (1) and John Roper (3) before, in 1977, Jan (now Wilson) took charge and, but for a break of two years, has doubled as writer and producer ever since.  Her ability to recruit and organise skilled artists both on- and back-stage has earned a reputation for Youlgrave Pantomime that guarantees a rush for seats as soon as the booking office opens.

It is a success story not just for Youlgrave but for the integrity of pantomime itself.  Latter-day fads and gimmicks - moulding the storyline to individual performers, betraying tradition for the sake of a few easy distractions - all have been religiously disavowed from the very beginning.  Patrons to Youlgrave know they will experience a visit to fairyland, a romantic story in a magical land where good always triumphs and villains are banished or redeemed in the end.  Parents can safely bring their families knowing there will be neither coarseness nor innuendo to betray their sense of wonder.  To stand in the wings and watch the enchanted young faces in the audience is to realise what a precious transport this is.  It is part of the Youlgrave tradition that the magic is never imperilled by careless presentation.  Anything out of character in costume or scenario, for example, is meticulously avoided: correspondingly, no member of the cast in costume must be seen on the wrong side of the proscenium arch before or during the show. 

2002 - Queen of Hearts - Management and Team set the scene 

But the people you never see on or off-stage are as vital to success as the performers.  Without them there would be no show and it is perhaps the outstanding teamwork backstage that has turned an annual event into a social institution and secured the enduring reputation.  From the time of planning the next production to the final night is about six months each year, but the pleasure and companionship lasts the whole year through. 

150 costumes - one corner of the sewing room

The sewing ladies begin in September, enjoy each other’s company each Monday and Wednesday evening, produce around 150 stunning costumes for the show and, for the rest of the year, sort and maintain the wardrobe of around a thousand stored costumes. 

2008 - Cinderella - Geoff and Harold - Coachbuilders

Equally club like are the Props and Stage Departments, mostly retired men who devote their spare time and skills to building the stage effects and, for the rest of the year work on maintaining and improving the Hall.  The creation of the scenery, though less demanding in duration, brings together a band of companions who look forward to their annual reunion.  All in all, it epitomises harmonious village life as we would like it to be.

Meanwhile the eager youngsters who have auditioned for the chorus are deriving discipline, respect and confidence that will serve them well in real life -  hopefully the future of Youlgrave Pantomime, too.  After all, there would be nothing to look forward to without them.