Critically acclaimed pantomime dame Mama G has travelled all over the world, entertaining audiences with stories about being whoever you want to be, and self love. Now, she’s bringing her show The Magic Bookmark to Edinburgh Fringe for the first time. Ahead of her debut, we spoke to her about the show, and why pantomime is such an important art form.
Monologues and Musicals: Can you start by telling me a bit about The Magic Bookmark?
Mama G: I wrote The Magic Bookmark a few years ago when a video of one of my story times went viral on TikTok and everyone said that I reminded them of Miss Frizzle from The Magic School Bus. At the same time I also got a lot of flack about the nature of my storytelling and the fact that it encourages children to be who they want and love who they are. The UK has a long tradition of drag performance for family audiences; panto has existed for almost 300 years, after all, so I decided to create my own panto to remind people that, first and foremost, I am a pantomime dame! I also think that panto has the unique ability to communicate important ideas to people of all ages, and I really wanted a vehicle to demonstrate that—which The Magic Bookmark has turned out to be, in the most wonderful way!
The show follows me as I go on an adventure to find three books to prove to Book Worm (the baddie! Boo! Hiss!) why storytelling is important, and even more so: why including everyone in stories can help make the world a better place. Along the way there’s lots of terrible jokes, some fabulous magic, and all the traditional panto audience interaction you can squeeze into 60 minutes! To top it all off the show has absolutely banging original songs, written by Katie Pritchard, who also happens to be an Edinburgh Festival Fringe legend.
Pantomime is often children’s first introduction to the theatre. Why do you think it’s important that children watch pantomime?
I think it is incredibly important that children watch pantomime.
Pantomime is community experience and a great equalizer. Panto is designed for everybody to enjoy, no matter their age, ethnicity, finances, or education. It brings people together in a way that no other form of theatre is designed to. For some children it might be the first time they experience the breaking down of any social barriers they face outside the world of panto.
Pantomime is total theatre. It’s a love letter to theatre. It chucks everything it has at the wall and makes magic. Importantly, it’s not on a screen. It’s visceral. It’s tangible. It’s something children rarely experience. It’s wonder and magic that aren’t replicated anywhere else. I honestly don’t see how a young person can’t watch a panto and instantly fall in love with everything theatre has to offer.
Panto actually lets us talk about big issues in a way that theatre for adults doesn’t. I’ve seen pantomimes about Brexit, Windrush, the environment, even Donald Trump: they’ve all asked important questions, but disguised them with custard pies and fart jokes. Done right, pantomime can absolutely encourage children to use their critical thinking skills, but from the perspective of warring fairies, or a put upon dame.
Panto is, by its very nature topsy-turvey. It may be the first time that a child sees that the world doesn’t have to be what they’re being taught to believe it is. Gender is subverted, adults are silly, power is questioned. It’s beautiful!
You’ve been a pantomime dame for over 20 years now. How did you get into being a pantomime dame, and what’s your favourite thing about being in character?
It’s a cliché, but I always wanted to be a pantomime dame! I went to a drama school, Rose Bruford College in London, and during my final term I wrote to every panto producer I could think of asking for a job. I had one successful audition and the rest is history! In my first panto I was an Assistant Stage Manager, then the following year I understudied the dame too. By my third panto I was cast as one of Cinderella’s sisters and I’ve never looked back. The other sister was played by Arthur Bostrom who is well-known for being in ‘Allo, ‘Allo! I learnt so much from him—a lot of which I now pass on myself to aspiring dames!
I always loved the dame when I went to the panto. It probably sounds a bit deep, but I think that, as a child, I was kind of entranced by how the character challenges masculinity. I grew up seeing some of the best dames on the circuit, people like Jack Tripp, Chris Harris, John Inman, Jeffrey Holland etc., and one thing that I took from all of them is that the played the character with absolute truth and heart. While the audience needs to understand that it’s a man in a frock, the most important thing is that she’s telling a story, and that the stakes are as high for her as they are for one of Shakespeare’s great heroines.
As a professional I love the duality of the role: the comedy and pathos, and the masculine and feminine. It’s a real skill to balance it all and get the character just right… and I think I’ve almost get the hang of it!
When did you first start touring The Magic Bookmark? How has it adapted since then?
I first performed The Magic Bookmark at the Tunbridge Wells Fringe Festival in June 2023. Since then it’s been to theatres and libraries all over the country, as well as the Edinburgh International Book Festival, and the Hay Festival. I even got to perform it at the SoHo Playhouse in New York City, which was a huge thrill.
It’s an incredible experience to get to perform a show you’ve written over that long a period of time, because you really get a sense of what works and what doesn’t, and how audiences from different parts of the country/world respond to it. I’ve switched out the stories that I discover and read to find the perfect books for each moment of the show. Sometimes I perform it with a dance school, and sometimes I have an extra actor in it. It’s really nice to have a show that’s so fluid and adaptable.
Probably one of my favourite changes was when my book Oh Yes I Am! was published in 2024 and I got to add that into the show. I still love reading it, and I love seeing how the kids respond to it.
This is your first time coming to Edinburgh Fringe. How are you feeling about it? Is there anything in particular that you’re looking forward to?
I am so excited!! I’ve visited the Fringe many times before when I’ve been speaking at the book festival, and to see friends perform—so I am properly buzzing to be part of the madness! I know it’s going to be hard work, but I love a challenge!
I’m mostly looking forward to spending a month surrounded by other theatre people, and seeing a variety of different performances and shows. I’ve already got a list of things I need to see, including lots of panto pals such as Katie Pritchard, Nerine Skinner, Tom Brace, and Max Fulham; and I can’t wait to meet new people and discover wonderful surprises that I wouldn’t get anywhere else! If anyone has any recommendations please get in touch on my socials! (@mamagstories).
Do you have any projects lined up after the Fringe that you would like to share?
My panto for Christmas 2026 will be announced soon, and hopefully, by Fringe, by new picture book The Proudest Bird in the World, will have been published. I might even have a new album out! I’d love to take The Magic Bookmark on a bigger tour too! It’s all very WATCH THIS SPACE!
If you could choose one song as the soundtrack for your show, what would it be and why?
I’m obviously going to choose one of my songs! Specifically, it would be Panto is for Everyone from my EP that’s named after my first book: Oh Yes I Am! The song sums up my entire crusade, and the purpose of The Magic Bookmark: to get people to understand that panto is more than a throwaway commercial enterprise at Christmas—it’s a significant cultural moment that can educate and entertain people of all ages. I personally don’t think you even need kids to go and enjoy a traditional panto!
Secondly, one of my favourite songs in the world: What Happens Tomorrow? by Melissa Etheridge. It’s a stunning, anthemic song, that asks the listener to take control of their future and to take the rest of us along for the ride. I think—hope—that that is what The Magic Bookmark is doing: saying “look at what we could have if we all work together, if we all include everyone, if we march with joy, not hate.” I guess that seems a bit OTT for a cute little panto—but panto wears its heart on its sleeve, and so do I!
The Magic Bookmark will be performed at the Gilded Balloon Teviot from 5-31 August as part of Edinburgh Fringe.
Words by Ellen Leslie