Pantomimes are the unsung heroes of the UK’s theatre scene—and they’re far more than just a festive laugh. But here’s where it gets controversial: while many see them as light-hearted fun, they’re actually the financial lifeline that keeps smaller theatres alive. Yes, you heard that right—without the glitter, the groan-worthy jokes, and the audience shouting ‘He’s behind you!’, countless venues would struggle to survive the quieter months of the year.
As the 2025 pantomime season kicks off, theatres across the West Midlands are buzzing with activity. Colourful costumes are being tailored, scripts filled with cheeky humor are being memorized, and stages are transforming into magical worlds. Families are gearing up for their annual tradition of cheering on heroes and booing villains, but behind the scenes, it’s a high-stakes operation. For theatres, this isn’t just about spreading holiday cheer—it’s about securing their financial future.
Take Worcester Theatres, for example. Sarah-Jane Morgan, the chief executive and artistic director, reveals that preparations for this year’s Sleeping Beauty at the Swan Theatre began almost immediately after the last panto ended. ‘It’s not just about the money, though that’s crucial,’ she explains. ‘This is when we connect with the most people in our community. It’s a time when families come together, and the theatre becomes a hub of joy and laughter.’ With 68 performances scheduled from 28 November to 4 January, the 360-seater venue expects to welcome over 19,000 audience members. Without this influx, Morgan warns, the financial impact would be devastating.
‘And this is the part most people miss,’ she adds. ‘For smaller theatres, especially those under 500 seats, the pantomime season is make-or-break. It’s not just about keeping the lights on—it’s about keeping the heart of local communities beating.’ Without these productions, she predicts, more venues would close, leaving a cultural void in towns and cities across the region.
But don’t worry—pantomimes aren’t going anywhere. Morgan describes them as ‘magical,’ a perfect blend of color, song, dance, and sparkle that embodies the spirit of Christmas. ‘It’s a tradition families hold dear,’ she says. ‘It’s not just a show; it’s an experience.’
Over in Shrewsbury, Theatre Severn is gearing up for Dick Whittington, running from 28 November to 4 January. By late September, the show was already 70% sold out, and that number has since climbed to 84%, according to assistant theatre manager Craig Reeves. ‘It’s our most profitable show of the year,’ he says. ‘The success of the panto allows us to take risks with other productions. Without it, we wouldn’t have the freedom to be as artistically adventurous.’
Reeves, who’s worked at the theatre for 16 years, has seen the pantomime grow ‘enormously.’ ‘It’s not just about the revenue,’ he adds. ‘It’s about bringing people together. The age range of our audience during panto season is incredible—grandparents, parents, and kids all laughing at the same jokes. It’s a unique experience that bridges generations.’
But here’s a thought-provoking question: Are pantomimes undervalued as an art form? While they’re often dismissed as simple entertainment, they require immense creativity, from writing scripts that appeal to all ages to designing costumes that dazzle. Shouldn’t we celebrate them as much as we do more ‘serious’ theatre?
What do you think? Are pantomimes just a festive fad, or are they a vital part of our cultural landscape? Let us know in the comments—we’d love to hear your thoughts!
