Portrayals
Joseph Grimaldi took many of the early female roles in pantomimes at Drury Lane. He was notable for introducing the pantomime dame, and the tradition of audience participation and community singing. He was a specialist in physical comedy; particularly tumbling and falling.The first "Widow Twankey" was played by James Rogers at the Strand Theatre on 1 April 1861, in an 'extravanganza' by H. J. Byron, Aladdin or The Wonderful Scamp – this play also featured a character named Pekoe.
The comedian Dan Leno portrayed Widow Twankey from 1896 at the Theatre Royal, Drury Lane, with Marie Lloyd in the role of principal boy – Aladdin. Leno introduced dancing and long monologues with the audience to the role – bringing the then popular music hall into pantomime.
Aladdin continues as a part of the repertoire of the Christmas season. Today, the dame is often played by popular television stars, but in 2004 and 2005, Sir Ian McKellen played the part of Widow Twankey at the Old Vic. This reintroduced a tradition of senior classical actors playing pantomime, which was originally played in the theatrical off-season between December and April. This script was heavy with adult innuendo such as "I've got something cheesy bubbling in my oven" and "your front porch could do with a good lick". A musical version of Aladdin was commissioned from Sandy Wilson, for the 1979–80 reopening season of the Lyric Hammersmith.
Widow Twankey was also portrayed by Michael Hurst (credited as "Edith Sidebottom") in three Hercules: The Legendary Journeys episodes. First in the season four episode "...and Fancy Free," followed by the episode "Men in Pink" He later reprised the role for the final time in a season five episode entitled "Greece is Burning." The character of Widow Twankey is a diva, married at least 12 times, and a teacher of dance.
Read more about this topic: Widow Twankey
Famous quotes containing the word portrayals:
“We attempt to remember our collective American childhood, the way it was, but what we often remember is a combination of real past, pieces reshaped by bitterness and love, and, of course, the video past—the portrayals of family life on such television programs as “Leave it to Beaver” and “Father Knows Best” and all the rest.”
—Richard Louv (20th century)