LONDON — A quintessentially British holiday experience, pantomimes are an integral part of the Christmas season, celebrated just as much as traditional turkey dinners and festive decorations.
Pantomimes, colloquially referred to as “pantO,” combine whimsical storytelling, contemporary nods to current events, slapstick humor, lively song and dance routines, and playful adult innuendos. The result is a dazzling, participatory theatrical experience that thrives on audience interaction, making it a beloved winter tradition across the U.K.
These performances provide many children their first taste of live theater, while also offering a chance for adults to enjoy a carefree evening out. Contrary to stereotypes of the reserved British demeanor, pantomime audiences enthusiastically engage by cheering, singing along, booing the antagonists, and shouting phrases like, “He’s behind you!” to guide the hero on stage.
“It’s all about singing, dancing, and laughter—creating a family outing where children can express themselves,” shared Clive Rowe, who both directs and stars in “Dick Whittington and his Cat” at the Hackney Empire, marking his 17th consecutive panto at this renowned theater in east London.
The roots of pantomime delve deep into a mix of historical influences, with origins tracing back to the comedic stock characters and bawdy humor prominent in 16th-century Italian theater, the French harlequinade, and the traditional English music halls. By the late 1800s, these elements coalesced into the recognizable form of panto we see today.
Typically, pantomimes are based on well-loved fairy tales and classic children’s narratives like “Aladdin,” “Snow White,” and “Cinderella.” Common characters include a brave protagonist, often portrayed by a woman, a comically villainous figure, and a “dame,” a humorous matronly character played by a man in eye-catching drag attire.
Simon Sladen, a curator of theater and performance at the Victoria and Albert Museum in London, noted, “The pantomime dame is pivotal to the show, providing not just energy and chaos, but also a dash of humor and sass.”
Each year, an estimated 3 million individuals attend pantomimes throughout Britain, enjoying performances in various venues ranging from small local theaters to London’s renowned West End establishments. Many of these theaters depend on pantomimes for a substantial part of their annual revenue.
During the pandemic lockdowns of 2020, when theaters were hampered for months, pantomime dames organized a protest march in London to emphasize their critical role in the creative arts sector.
Pantomimes also create seasonal job opportunities for various performers, including aging pop stars, television personalities, and even Hollywood actors. Notably, Pamela Anderson wowed audiences in Liverpool during her 2010 stint in “Aladdin,” singing “Santa Baby” while suspended on a swing, donning costumes by acclaimed designer Vivienne Westwood.
Moreover, pantomimes serve as an essential stepping stone for budding actors who may one day become household names. Jude Law reminisced about his performance as Humpty Dumpty, describing it as “loud and round,” while Michael Fassbender once took on the role of one of Cinderella’s Ugly Sisters.
Actor Jonathan Bailey, known for his role in “Wicked,” mentioned starring alongside young Nicholas Hoult in a production of “Peter Pan,” while Hoult also reflects on his experience in “Mother Goose” and expresses a desire to participate in another panto because of the immense fun they offer.
Describing the essence of pantomime, Bailey called it a “quintessentially British experience that offers a fantastic time for families.”
Contemporary pantomimes frequently aim to showcase diversity both on stage and among audience members. Rowe emphasized that at its heart, panto is fundamentally about acceptance, promoting the notion that differences should be celebrated and embraced among all individuals, regardless of age or background.
Drag performer Ginger Johnson, who is part of an adult “all-drag panto” rendition of “Peter Pan” at London’s Phoenix Theatre, believes that the adaptability of pantomime is key to its enduring relevance. “For many children, panto might be their first exposure to drag,” Johnson explained.
Historian Simon Sladen noted that there’s an increasing emphasis on incorporating diverse drag roles, allowing for a broader spectrum of characters beyond just the dame and principal boy. It’s now common to see various roles—like fairy godmothers or wicked stepmothers—depicted by drag performers, illustrating how the art form continues to evolve with contemporary culture.
