The anticipation builds with the music, the curtains begin to open, and dancers fill the stage. At this time of year, theatres across the country burst into life, their stages humming with live performances, laughter and the camaraderie that brings the best of Irish talent together. Pantomimes take centre stage in some of the country’s biggest theatres and smallest local community halls.
While many people love supporting local, there is one pantomime, arguably one of the most iconic and historic in the country, that families will travel far and wide for – the Gaiety panto, a tradition which has lit up Christmas since 1873.
Here, the true star of the show isn’t that well-known actor, the elaborate costumes or even the well-written, well-delivered lines and over 1,000 stage cues.
According to director Daryn Crosbie, the theatre itself is the beating heart of the production, with its plush red velvet interior, ornate gold-trimmed balconies and old-world charm.
“That’s why we say, ‘this is no ordinary panto... it’s the Gaiety panto’. Not to compare it with any others – but to say that it is the Gaiety itself that makes it come to life. It has a great Christmas feel,” he explains, adding that it is deep-rooted in tradition.
Celebrating over 150 years of pantomimes, the panto is an experience that people relish and crave, where live performances take children and teenagers away from technology and devices, and adults away from their everyday routines.
It’s a place where mischief is encouraged, laughter is shared, and the auditorium becomes part of the fun. The one time where you are encouraged to be as loud as you can, booing the villain and shouting “oh no you didn’t” is expected.
As the pantomime writer, choreographer and director, Daryn is the man who brings the show to life, ensuring everything runs smoothly. And he has a beautiful family connection to the Gaiety. In the 1970s, his grandmother Thelma Ramsey, was the musical director when Maureen Potter was on stage.
From the age of three, Daryn had the best seat in the house, watching the shows from the pit where the band is housed. Growing up in the theatre led him to develop a love for pantomime and performance.
He started choreographing shows in the Gaiety in 1996 and directed his first show in 2003. He has held numerous jobs since, including performing on stage when needed.
When it comes to creating the magical productions, Daryn says the formula is good conquers evil, and while there is always a happy ending, he tries to keep things fresh and varied with his writing.
Production photos of Beauty and the Beast at the Gaiety Christmas pantomime,
Beauty and the Beast
This year, attendees are invited to enjoy a ‘tale as old as time’ in Beauty and the Beast. It was a momentous year as Joe Conlan, who has played Nana Potts for 15 years, will make his last performance. Joining him on stage will be Ciara Lyons as Belle, David James Whelan as Beast, David Crowley as Gaston, alongside many other talented stars.
Beauty and the Beast is one of the productions that Daryn has avoided to date, as it wasn’t his favourite show, but having done most other titles, he decided this year he would give it a go.
“In my head, in any other productions of the title I have seen, there’s no real baddie. The beast is someone we are supposed to love; there is Gaston, but that’s more of a comedy role.
“I said if I were ever doing Beauty and the Beast, I wanted to make the baddie quite bad,” he explains.
This means Gaston was written as a really drastically devious character.
It just shows we all need to challenge ourselves in life as Daryn reveals that the production, “has turned out to be one of my favourites. It’s a beautiful story, obviously, the sentiment being that it’s not what you look like on the outside, it’s what’s inside that counts.
“It’s great to get these messages across to the kids who nowadays are just stuck to their phones or social media. To see them sitting in here for over two and a half hours, transfixed – that’s magic that can’t be replaced with a device,” he says.
Behind the scenes
Bringing a production of this scale, not only to life but to perfection, is an intricate puzzle that comes together with a lot of fine-tuning from visuals to sound and everything in between.
A four-week rehearsal period is longer than most pantomimes enjoy. But David Crowley who plays Gaston – says this is necessary to perfect the massive numbers involved in the production.
“There are so many different departments that work to bring this together. Anybody who attends a show will see that attention to detail and the production value on the stage, from the sets to the costumes to the musical numbers,” he says.
The carefully constructed sets are a sight to behold – and they’re huge. David explains that the crew must move them around between acts in just a few seconds and they have it down to a fine art.
“When we do our technical rehearsal, it’s for the benefit of the crew, because they’re just as important and as much part of production as we are. Backstage, whether we’re in the castle with Belle or in the tavern with Gaston, there are a lot of moving parts,” he says.
David thrives off the audience and loves playing the show’s bad guy.
“People say he’s the bad guy, but I think Gaston is a bit misunderstood here. He’s the forgotten hero in my eyes. He’s obviously very arrogant; he’s very self-obsessed.
“He’s got buckets of confidence, and that’s all he’s trying to teach people: love yourself. We all know that Belle would be better off with Gaston,” says David, with a laugh.
Ciara, who plays Belle, jokes that the character might be rubbing off on David.
“I’ve worked with him a few times, and I don’t think I’ve ever seen anyone enjoy their job more than him. He just loves it, and he’s electric in this show, and I think the audience can tell the fun he’s having, he plays the perfect Gaston – the kids all hate him, but the adults love him,” she says.
Ciara’s favourite part of the production is tech week, when rehearsals merge with technical production elements like lighting, sound, costumes, and props, because that’s when it all comes together.
“Daryn Crosbie is unbelievable. I’ve never worked in a production where the director writes and choreographs, and he doesn’t just do that.
“He is literally in every single area, from lighting to sound. It just creates the most impeccable, clean, gorgeous show, because he cares so much, and that’s quite amazing,” Ciara says.
The cast and crew have great fun behind the scenes and in the wings, which, for Ciara, keeps it fresh when they are performing two shows a day for such a long period of time.
“That’s something about panto. When everyone gets on the stage, they are so professional, but it’s great fun behind the scenes. We hold each other up,” she says.
As Beauty and the Beast is a Disney favourite for many, Ciara admits this adds a layer of pressure.
“You want to give this great depiction of what the audience already knows so well. I think the writing is great because Belle, she’s very Disney. But at the same time, there’s a side to her that’s very independent and fierce, and I think the audience really enjoys that side,” she says.
Ciara Lyons plays Belle. \Claire Nash
For David, it is very special to be part of a production that so many of the cast grew up watching.
“There are a lot of kids in that audience experiencing live theatre for the first time. And we were those kids, and I remember my very first experience of live theatre was going to the Gaiety panto, so being able to then step out onto that stage all these years later, and be part of their experience, it’s very special,” he says with a smile.
David’s favourite part is the mayhem and chaos of the 1,145 seats in the auditorium being filled with giddy and excited children and families – and as the villain, he absolutely loves the boos.
“We encourage everyone to scream and shout as loudly as they can. In other areas of theatre, whether it’s contemporary theatre or classical plays, we’re all scared of making noise. But in panto, it’s the polar opposite.
“Everyone gets involved. The audience is the additional cast member, telling us where the bad guys are. It is so interactive,” he says.
When David was 18, there were few options to pursue acting in Ireland. Now there are more courses and theatre groups, but as work is unpredictable, a lot of actors like himself and Ciara spend time training and working abroad.
Ciara says, “I went to college to get a degree. But it also opened doors as I’m a teacher of drama, singing and dance.
“It was something that I was really glad I did in the end, because that’s my job when I’m not acting.”
David agrees, adding: “I suppose, because the work can be so fickle at times, it makes you really cherish it when you have it. We don’t take for granted what we do for a living, especially in the Gaiety. To be able to walk out on stage and not see an empty seat in the house, two shows a day, really is such a privilege, and we don’t take it for granted.”
Encouraging young talent
One of the most important things you can tell a young person, according to David, is to “do what you enjoy and do what brings you the most joy”.
“When you enjoy something, it’s easy to become good at it, because that’s your passion. There is no shying away from the fact that it is a very difficult industry.
“I would encourage young people to keep at it and go to their speech and drama classes. We’re very fortunate now to have some great opportunities within different academies and schools where you can go and actually get a professional degree in performance,” he explains.
Although he does say being an actor in a panto means Christmas is very busy, “but we still manage to fit in Christmas traditions. You don’t get to do as many things outside of here as you would if you weren’t working. But it’s so worth it to be able to perform and do what we love over the Christmas season, that’s really special, and something we wouldn’t give up,” she says.
Beauty and the Beast at the Gaiety
Theatre runs until 18 January.
Ticket prices range from €28.50 to €55.
See gaietytheatre.ie
The anticipation builds with the music, the curtains begin to open, and dancers fill the stage. At this time of year, theatres across the country burst into life, their stages humming with live performances, laughter and the camaraderie that brings the best of Irish talent together. Pantomimes take centre stage in some of the country’s biggest theatres and smallest local community halls.
While many people love supporting local, there is one pantomime, arguably one of the most iconic and historic in the country, that families will travel far and wide for – the Gaiety panto, a tradition which has lit up Christmas since 1873.
Here, the true star of the show isn’t that well-known actor, the elaborate costumes or even the well-written, well-delivered lines and over 1,000 stage cues.
According to director Daryn Crosbie, the theatre itself is the beating heart of the production, with its plush red velvet interior, ornate gold-trimmed balconies and old-world charm.
“That’s why we say, ‘this is no ordinary panto... it’s the Gaiety panto’. Not to compare it with any others – but to say that it is the Gaiety itself that makes it come to life. It has a great Christmas feel,” he explains, adding that it is deep-rooted in tradition.
Celebrating over 150 years of pantomimes, the panto is an experience that people relish and crave, where live performances take children and teenagers away from technology and devices, and adults away from their everyday routines.
It’s a place where mischief is encouraged, laughter is shared, and the auditorium becomes part of the fun. The one time where you are encouraged to be as loud as you can, booing the villain and shouting “oh no you didn’t” is expected.
As the pantomime writer, choreographer and director, Daryn is the man who brings the show to life, ensuring everything runs smoothly. And he has a beautiful family connection to the Gaiety. In the 1970s, his grandmother Thelma Ramsey, was the musical director when Maureen Potter was on stage.
From the age of three, Daryn had the best seat in the house, watching the shows from the pit where the band is housed. Growing up in the theatre led him to develop a love for pantomime and performance.
He started choreographing shows in the Gaiety in 1996 and directed his first show in 2003. He has held numerous jobs since, including performing on stage when needed.
When it comes to creating the magical productions, Daryn says the formula is good conquers evil, and while there is always a happy ending, he tries to keep things fresh and varied with his writing.
Production photos of Beauty and the Beast at the Gaiety Christmas pantomime,
Beauty and the Beast
This year, attendees are invited to enjoy a ‘tale as old as time’ in Beauty and the Beast. It was a momentous year as Joe Conlan, who has played Nana Potts for 15 years, will make his last performance. Joining him on stage will be Ciara Lyons as Belle, David James Whelan as Beast, David Crowley as Gaston, alongside many other talented stars.
Beauty and the Beast is one of the productions that Daryn has avoided to date, as it wasn’t his favourite show, but having done most other titles, he decided this year he would give it a go.
“In my head, in any other productions of the title I have seen, there’s no real baddie. The beast is someone we are supposed to love; there is Gaston, but that’s more of a comedy role.
“I said if I were ever doing Beauty and the Beast, I wanted to make the baddie quite bad,” he explains.
This means Gaston was written as a really drastically devious character.
It just shows we all need to challenge ourselves in life as Daryn reveals that the production, “has turned out to be one of my favourites. It’s a beautiful story, obviously, the sentiment being that it’s not what you look like on the outside, it’s what’s inside that counts.
“It’s great to get these messages across to the kids who nowadays are just stuck to their phones or social media. To see them sitting in here for over two and a half hours, transfixed – that’s magic that can’t be replaced with a device,” he says.
Behind the scenes
Bringing a production of this scale, not only to life but to perfection, is an intricate puzzle that comes together with a lot of fine-tuning from visuals to sound and everything in between.
A four-week rehearsal period is longer than most pantomimes enjoy. But David Crowley who plays Gaston – says this is necessary to perfect the massive numbers involved in the production.
“There are so many different departments that work to bring this together. Anybody who attends a show will see that attention to detail and the production value on the stage, from the sets to the costumes to the musical numbers,” he says.
The carefully constructed sets are a sight to behold – and they’re huge. David explains that the crew must move them around between acts in just a few seconds and they have it down to a fine art.
“When we do our technical rehearsal, it’s for the benefit of the crew, because they’re just as important and as much part of production as we are. Backstage, whether we’re in the castle with Belle or in the tavern with Gaston, there are a lot of moving parts,” he says.
David thrives off the audience and loves playing the show’s bad guy.
“People say he’s the bad guy, but I think Gaston is a bit misunderstood here. He’s the forgotten hero in my eyes. He’s obviously very arrogant; he’s very self-obsessed.
“He’s got buckets of confidence, and that’s all he’s trying to teach people: love yourself. We all know that Belle would be better off with Gaston,” says David, with a laugh.
Ciara, who plays Belle, jokes that the character might be rubbing off on David.
“I’ve worked with him a few times, and I don’t think I’ve ever seen anyone enjoy their job more than him. He just loves it, and he’s electric in this show, and I think the audience can tell the fun he’s having, he plays the perfect Gaston – the kids all hate him, but the adults love him,” she says.
Ciara’s favourite part of the production is tech week, when rehearsals merge with technical production elements like lighting, sound, costumes, and props, because that’s when it all comes together.
“Daryn Crosbie is unbelievable. I’ve never worked in a production where the director writes and choreographs, and he doesn’t just do that.
“He is literally in every single area, from lighting to sound. It just creates the most impeccable, clean, gorgeous show, because he cares so much, and that’s quite amazing,” Ciara says.
The cast and crew have great fun behind the scenes and in the wings, which, for Ciara, keeps it fresh when they are performing two shows a day for such a long period of time.
“That’s something about panto. When everyone gets on the stage, they are so professional, but it’s great fun behind the scenes. We hold each other up,” she says.
As Beauty and the Beast is a Disney favourite for many, Ciara admits this adds a layer of pressure.
“You want to give this great depiction of what the audience already knows so well. I think the writing is great because Belle, she’s very Disney. But at the same time, there’s a side to her that’s very independent and fierce, and I think the audience really enjoys that side,” she says.
Ciara Lyons plays Belle. \Claire Nash
For David, it is very special to be part of a production that so many of the cast grew up watching.
“There are a lot of kids in that audience experiencing live theatre for the first time. And we were those kids, and I remember my very first experience of live theatre was going to the Gaiety panto, so being able to then step out onto that stage all these years later, and be part of their experience, it’s very special,” he says with a smile.
David’s favourite part is the mayhem and chaos of the 1,145 seats in the auditorium being filled with giddy and excited children and families – and as the villain, he absolutely loves the boos.
“We encourage everyone to scream and shout as loudly as they can. In other areas of theatre, whether it’s contemporary theatre or classical plays, we’re all scared of making noise. But in panto, it’s the polar opposite.
“Everyone gets involved. The audience is the additional cast member, telling us where the bad guys are. It is so interactive,” he says.
When David was 18, there were few options to pursue acting in Ireland. Now there are more courses and theatre groups, but as work is unpredictable, a lot of actors like himself and Ciara spend time training and working abroad.
Ciara says, “I went to college to get a degree. But it also opened doors as I’m a teacher of drama, singing and dance.
“It was something that I was really glad I did in the end, because that’s my job when I’m not acting.”
David agrees, adding: “I suppose, because the work can be so fickle at times, it makes you really cherish it when you have it. We don’t take for granted what we do for a living, especially in the Gaiety. To be able to walk out on stage and not see an empty seat in the house, two shows a day, really is such a privilege, and we don’t take it for granted.”
Encouraging young talent
One of the most important things you can tell a young person, according to David, is to “do what you enjoy and do what brings you the most joy”.
“When you enjoy something, it’s easy to become good at it, because that’s your passion. There is no shying away from the fact that it is a very difficult industry.
“I would encourage young people to keep at it and go to their speech and drama classes. We’re very fortunate now to have some great opportunities within different academies and schools where you can go and actually get a professional degree in performance,” he explains.
Although he does say being an actor in a panto means Christmas is very busy, “but we still manage to fit in Christmas traditions. You don’t get to do as many things outside of here as you would if you weren’t working. But it’s so worth it to be able to perform and do what we love over the Christmas season, that’s really special, and something we wouldn’t give up,” she says.
Beauty and the Beast at the Gaiety
Theatre runs until 18 January.
Ticket prices range from €28.50 to €55.
See gaietytheatre.ie
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