Renowned mischief-makers He’s Behind You! will return this Winter with a raucously romantic new adult panto Beauty and the Beast: A Horny Love Story, at Charing Cross Theatre from 21st November – 11th January.
This fairy-twist will deliver He’s Behind You!’s signature queer-infused narrative, outrageous humour and original music as they turn this tale as old as time into a fresh, riotous festive evening out for the adults. Set in the Scottish village of Lickmanochers, this enemies-to-lovers romcom follows sweet Bertie as he’s swept into an unlikely romance with a grumpy, hairy aristocrat. Snow falls, tensions rise, and sexual desires awaken in this unmissable Christmas panto.
Behind the glitter and giggles, He’s Behind You!’s ethos is centred around platforming queer reimagining of Britain’s most mainstream theatrical form. Pantomime is often our first brush with live theatre, steeped in heteronormative love stories despite being laced with gender play, camp joy, and sparkle. In their work, queer characters aren’t just sidekicks or spirits. They’re the heroes, the heartbreakers, and the happily-ever-afters.
You’ve described this version of Beauty and the Beast as “very silly and embarrassingly rude” – where did the inspiration come from for this particular adult spin?
Like most of our pantos it’s inspired partly by the world around us, including gay culture, and partly by existing versions of the story – we’re simultaneously telling the story and taking the piss out of it. I watched the 1940 French film and read a 1942 pantomime script and we’ve all seen the Disney but honestly a lot of it is just us going down rabbit-holes and trying to write our way out of them. It’s an unusual story for panto in that the romantic leads spend a lot of time together so it’s sort of a romcom, but a really toxic romcom because one has taken the other prisoner!
We wanted the show to feel wintry this year and thought the far north of Scotland might be fun. I’d recently read a folk horror novel set up there and there’s something horror-ish about rumours of a strange beast in a remote castle. I love Scots as a rhythm to write in – I can’t really speak the accent but I’m half Scottish and it’s fun to keep Matt (our dame) on his toes with a new voice.
You mention themes like body image and isolation in the gay community—how do these deeper ideas weave into the wild comedy of the show?
I was being a bit tongue in cheek but as you start writing the story with a gay mindset and modern setting you can’t help finding resonances. You see what comes out as you go – for example there’s a moment that acknowledges the way drugs can become a crutch when it comes to sexual confidence, but that has to work as comedy. If I can’t do something funny with it, it doesn’t belong in the show. Obviously, beauty is a highly prized thing in our online Insta-world – think how often gay men begin a text to a friend with “hi handsome” as though that’s the important thing to validate. So, the idea of a once-beautiful young man transformed into a beast is maybe interesting in that context? But I don’t think you need to draw explicit parallels, and part of the joke with ours is you’ve got this beast who is supposedly hideous but is actually hot and gets Bertie’s (our “Belle”) hole twitching at first sight. Both our Beast and Bertie are, literally, isolated: One hidden away, the other living in a tiny hamlet where gay tourists pass through but there’s no-one to form a real relationship with. And he’s totally sexually inexperienced – at first…
You’ve written music and lyrics for the production—what can audiences expect from the original songs in this one? Any standouts you’re excited for them to hear?
I’m still working on them! They slot in as we find the right moments in the show to go into song but I think I can promise a Disney pastiche, and for the first time I’ve written a lesbian love duet which think is a bit of a banger. It’s very pop, very explicit and full of crass stereotypes.
How do you strike the right balance between outrageous humour and genuine heart in a show like this?
Sex is a big part of gay culture so there’s plenty of material for adult humour that is also relatable and emotionally charged and vulnerable. I’ve always liked like using the unglamorous, awkward, even gross aspects of sex in comedy. And then putting the work in on the story, setting and characters helps generate humour that comes from the characters’ situations and predicaments rather than just being plonked on top, so hopefully people become invested over the couple of hours and you can earn the “aahs” as well as the laughs and boos.
What makes panto such a powerful medium for queer storytelling, especially for adult audiences?
Most of us that grew up in the UK know panto from an early age, and also know some of those stories from early Disney classics, so there’s something mischievous about reclaiming those childhood stories by queering them up. The other joy about queer adult panto is that London is full of gays from around the world who come along and discover the madness of panto for the first time. Fairytales are magical – anything is possible – so it shouldn’t feel too much of a step to have gay romances and heroes. It’s not like a classic play where the text stays the same – they’re classic stories but each panto is a new version, so you can do what you like as long as you hit the main story beats and panto traditions.
What is it about this creative team—Andrew Beckett, Carole Todd, your longtime co-writer Martin Hooper—that keeps the magic fresh year after year?
I’d include others in that too – our designer David Shields, costume designer Robert Draper, musical director Aaron Clingham. Working with people you know and trust means you know each other’s strengths and you feel safe to be frank with each other, knowing that you’re all invested in making something special.
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Beauty and the Beast: A Horny Love Story
Q&A with Matthew Baldwin
You’ve become something of a legend in these queer pantos—how does this year’s Dame compare to your previous outrageous roles?
We scale new heights of outrageous antics this year but we also plumb new depths. In comparison to previous Dames well, this year I am much hotter. This is largely because I’ve had a lot of work done. I now have enormous tits for example and have installed a new flue. It’s set in Scotland too which is always exotic of course.
Do you see the Dame as a kind of queer icon in her own right? How do you approach the role differently from traditional pantos?
A Panto dame is everyone’s first introduction to the fun and chaos of gender bending and therefore will always be iconic. It’s a great British tradition and one of our best along with democracy and manners.
In general I approach the role from behind. Downwind preferably. I sneak up on it and penetrate it right to the fundamentals. What comes out of that is usually delicious and the audience laps it up.
The press release teases “plenty of mischief” – can you give us a hint at one of your cheekiest moments in the show (that you’re allowed to talk about)?
Imagine Britt Eckland in The Wicker Man but with me instead. There’s also an extensive nude ballet section that fortunately involves only the hot, young people. And then of course there’s… The Beast…
YASS MAGAZINE
Beauty and the Beast: A Horny Love Story
Q&A with Chris Lane
You’ve been a fan-favourite in previous pantos with He’s Behind You! — what drew you back this year?
I’m always drawn back by the team behind these pantos. There is a lot of work that goes on behind the scenes. I know our director Andrew Beckett has worked throughout the night sometimes to make these shows happen – like a “lady of the night” some might say. Jon and Martin write just the most exquisite lines and they write for your own cadence – it’s pretty amazing! Our producer Oli Sones was the original Charlie Brown in Lionel Bart’s 1967 Production of Oliver! so he’s always on hand to give theatrical advice and help us pull up our tights. As the only straight man in the execs he’s the most hands-on… He must be about 86 now but he only looks 37…
Honestly I absolutely LOVE the lads – I’ve known them for almost 10 years. It’s a truly collaborative rehearsal room and ideas are always thrown around. It’s like a gay Monty Python and I love it! Also – there’s nothing like having a ciggie with Matthew Baldwin out back during the interval (which go on wayyyyyyyyyyy too long – sort it out!) We’re like two Corrie battle axes and I wouldn’t have it any other way. All of them foster such a joyous environment. Where else would I be? Performing for kids?!
Can you give us a glimpse into your character for this year’s show? Are you the Beast, a villager, or someone even more surprising?
I can’t say much as I don’t know much but know what kind of character I am – they’re a cunt.
How do you prepare for a show that’s so physically energetic, comedically fast-paced, and… let’s face it, a bit filthy?
Everyone has their own way. Mine is a bit of silence, nicking a ciggie off Matthew and going for it. I don’t go in for big, group warm-ups as I like to do my own 20-minute stretch, away from everyone else. My warm-up is silence, think through the jokes (yes – it actually does require silence and thought!), fag with darling Matt and on we go!
What’s the most outrageous audience reaction you’ve ever had during one of these shows?
Ian Mckellan on the third row in opera goggles.
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