Think the panto season is over? Think again! While most theaters have packed away their festive cheer, some are still keeping the magic alive well into January. And this is where it gets intriguing: does panto feel different once the holidays are behind us, and could it serve a new purpose during the dreary days of January? Let’s dive in.
The Christmas decorations are down, the kids are back in school, and those New Year’s resolutions? Already gathering dust. But in cities like Liverpool and Mold, the panto spirit lives on. Theaters like Liverpool’s Royal Court, Everyman, and Theatr Clwyd are still hosting shows, proving that panto isn’t just a December phenomenon. But here’s where it gets controversial: Is panto just a holiday tradition, or does it have a role to play in lifting our spirits during the post-Christmas slump?
Take Nottingham Playhouse’s Sleeping Beauty, for instance. Running until this weekend, it closes just before Blue Monday, supposedly the most depressing day of the year. John Elkington, who’s been Nottingham’s dame for nearly three decades, believes January performances offer something special. ‘It’s a treat after Christmas,’ he says. ‘For families, it’s like an extension of the holiday fun—one last hurrah before reality sets in.’ But it’s no easy feat. Elkington and the cast must keep the energy high, even as audiences thin out and the show schedule reduces from 12 performances a week to six. And this is the part most people miss: January pantos often include relaxed performances, designed for smaller, quieter audiences, making them more accessible.
Nottingham’s panto is so beloved that its final night, known for crew pranks and chaos, draws repeat audiences. ‘They come to see the show as it should be, and then they come back for the madness,’ Elkington explains. This year, the panto is even available online, a rarity for live theater. With 40,000 annual visitors, Nottingham Playhouse knows how to keep the tradition alive—and relevant.
In Liverpool, The Scouse Christmas Carol at the Royal Court has been extended until January 24 due to popular demand. Executive producer Kevin Fearon, who also wrote the show, notes that January audiences often include those who couldn’t get tickets in December. The theater’s dining option—a meal served at your table before the show—adds to its appeal. ‘People want to come out, have a party, and enjoy a meal with their families,’ Fearon says. But here’s the kicker: The panto isn’t just entertainment; it’s a lifeline for the theater, generating over half of its annual ticket sales. Without it, the rest of the year’s programming wouldn’t be possible.
Interestingly, not all pantos are tied to Christmas. Brick Lane Music Hall in east London is opening Jack and His Giant Stalk on January 22, running until March. Written and directed by Lucy Hayes, it’s billed as ‘a pantomime for grownups’—not as risqué as adult pantos but still full of fun. Hayes explains that their January-to-March panto has become ‘its own tradition,’ offering a post-holiday pick-me-up. ‘People have more time after the busy Christmas period, and they might need a bit of cheering up,’ she says. But does this shift in timing dilute the panto’s magic, or does it reinvent it?
Hayes, whose father founded Brick Lane Music Hall in 1992, remembers the joy of panto from her childhood. ‘It felt like it was for me,’ she says. ‘The audience interaction made it different from a West End show or a play.’ Today, she’s directing her father in the show, keeping the family tradition alive. And by opening their panto in January, they’ve carved out their own niche, avoiding the crowded December market. ‘We’ve made our own market,’ Hayes laughs.
So, is panto just a Christmas tradition, or is it something more? January pantos offer a unique blend of post-holiday cheer, accessibility, and community spirit. But what do you think? Does panto belong solely to December, or does it have a place in the colder, quieter months? Let us know in the comments—we’d love to hear your thoughts!
