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‘It’s behind you!’ How Britain goes wild for pantomimes during the holidays

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‘It’s behind you!’ How Britain goes wild for pantomimes during the holidays

The Wicked Witch ‘Adelphaba’ (played by Gigi Zahir) on stage at the Pleasance Theatre in North London

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LONDON — Foreboding music begins. A scary green witch announces her arrival with a cackle. It’s the opening of Wicked Witches, a British holiday-time play known as a “pantomime,” at a North London theater.

But soon after she walks on stage, it’s clear the witch isn’t happy with the audience.

She says the audience is being too quiet, and should boo her as loudly as they can, because she is the “villain” of the pantomime. She leaves the stage and comes back on — and this time, the audience does what it’s told, heckling with loud boos.

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Throughout the two-hour play, the audience is expected to join in, shouting out classic lines that most people who attend already know, even if they haven’t seen this play. Pantomimes are famous for crowds calling out catch phrases e like “it’s behind you!” — to alert the actors to something, or someone, they can’t see on stage.

All across Britain during the festive period, families attend pantomimes — often shortened to “pantos” — which help get them into the Christmas spirit. Pantomimes are usually based on a well-known story, often a fairy tale, which is then given a bawdy twist. Traditionally, they feature female characters, or “dames,” played by a man in drag, and include lots of music, particularly pop parodies.

The show at the Pleasance Theatre is inspired by The Wizard of Oz and Wicked. Its storyline imagines a blizzard that brings Dorothy (whose name has changed to Dor) back to Oz, 20 years after that first visit. But in many ways, the plot comes second to the silly jokes, innuendos, and songs.

Actor Sir Ian McKellen playng Toto the Dog in a video clip for the Wicked Witches pantomime.

Actor Sir Ian McKellen playng Toto the Dog in a video clip for the Wicked Witches pantomime.

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Pantomimes are also known for featuring celebrities and public figures. This one features politician Jeremy Corbyn, who used to lead Britain’s Labour Party He appears on video as the Wizard of Oz-lington, a pun on Islington, the area of London he represents, now as an independent, in Parliament. Even more exciting is actor Ian McKellen — famous for playing Gandalf in the Lord of the Rings films — who is seen in a video clip as Toto the dog.

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The Wicked Witches pantomime in North London was actually written by an American, Shane “ShayShay” Konno, who comes from California’s Bay Area but has lived in the United Kingdom for 12 years. “I didn’t grow up in the U.K., and when I moved here, starting to understand pantomime felt like a huge cultural hurdle,” Konno says.

Pantomime has its roots in Italian commedia dell’arte, a form of theater that dates back to the 16th century. In Britain, it has gradually developed over the years. “The actual history of pantomime is it started in East London, and it used to be this huge thing where the whole community would come together,” Konno explains.

Konno is nonbinary, and their pantomime is consciously inclusive of LGBTQ people, featuring a nonbinary character in the lead role of Dor, and a message that people should accept people who are different from them. “I wanted to make something that made an explicitly LGBT version of The Wizard of Oz and Wicked, because that’s such a beloved franchise for the queer community,” Konno says.

There are two versions: one for families with children, and one just for adults. But Konno says they aren’t as different as you might think. Many of the ruder jokes remain in the family-friendly show, but they are carefully disguised. “When a quite rude joke is said, but one that goes over the kids’ heads, it does tickle the adults in the room more than it would in an adult show because they’re like, ‘Oh my goodness, I can’t believe that they said that in front of the children,’” Konno says.

Characters perform on stage at the Wicked Witches pantomime in north London, on Dec. 6.

Characters perform on stage at the Wicked Witches pantomime in north London, on Dec. 6.

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Most theaters around Britain have an annual pantomime in the festive period — and it’s often their most popular production of the year. Johnny McKnight, from Paisley, a town near Glasgow, Scotland, has been performing and writing pantomimes in Scotland for 20 years, and says it’s a vital part of many British people’s Christmas celebrations.

“I’ve always said to everybody, when you do a pantomime, and you’re doing 12 shows a week, you’re giving people the gift of their Christmas ritual, their Christmas night out,” McKnight says. McKnight often plays the role of the dame, dressing up in drag.

McKnight has seen different generations of the same families grow up watching his shows, and explains that pantomime is often the first time that children in Britain ever visit the theater. “A lot of the time it’s a child’s first entry point,” McKnight says. “It was certainly mine — my first entry point into live theater.”

At the Wicked Witches show in North London, there are lots of children at the theater for the first time. Imogen Coackley is 8 years old, and attending with her father Alex and 5-year-old sister Emily. Imogen explains that she likes the pantomime because “they say very funny jokes and talk to the audience.”

McKnight says that seeing children enjoy his shows is one of the best parts of the job. “There’s something … magical in that, that you’re creating something accessible that talks to its audience rather than at them, that asks them to participate,” he says.

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‘Everything I knew burned down around me’: A journalist looks back on LA’s fires

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‘Everything I knew burned down around me’: A journalist looks back on LA’s fires

A firefighter works as homes burn during the Eaton fire in the Altadena area of Los Angeles County, Calif., on Jan. 7, 2025.

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On New Year’s Eve 2024, journalist Jacob Soboroff was sitting around a campfire with a friend when he made an offhand comment that would come back to haunt him: The last thing he wanted to do in the new year, Soboroff said, was cover a story that would require donning a fire-safe yellow suit.

Just one week later, Soboroff was dressed in the yellow suit, reporting live from a street corner in Los Angeles as fire tore through the Pacific Palisades, the community where he was raised.

“This was a place that I could navigate with my eyes closed,” Soboroff says of the neighborhood. “Every hallmark of my childhood I was watching carbonize in front of me. … There were firefighters there and first responders and other journalists there, but it was an extremely lonely, isolating experience to be standing there as everything I knew burned down around me in real time.”

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In his new book, Firestorm: The Great Los Angeles Fires and America’s New Age of Disaster, Soboroff offers a minute-by-minute account of the catastrophe, told through the voices of firefighters, evacuees, scientists and political leaders. He says covering the wildfires was the most important assignment he’s ever undertaken.

“The experience of doing this is something that I don’t wish on anybody, but in a way I wish everybody could experience,” he says. “It’s given me insane reverence for our colleagues in the local news community here, who, I think, definitionally were exercising a public service in the street-level journalism that they were doing and are still doing. … It was actually beautiful to watch because they are as much a first responder on a frontline as anybody else.”

Interview highlights

Firestorm, by Ben Soboroff

On the experience of reporting from the fires

You’re choking with the smoke. And I almost feel guilty describing it from my vantage point because the firefighters would say things to me like: “My eyeballs were burning. We were laying flat on our stomach in the middle of the concrete street because it was so hot, it was the only way that we could open the hoses full bore and try to save anything that we could.” …

I could feel the heat on the back of my neck as we stood in front of these houses that I remember as the houses that cars and people would line up in front of for the annual Fourth of July parade or the road race that we would run through town. Trees were on fire behind us — we were at risk of structures falling at any given minute. It was pretty surreal because this is a place I had spent so much time as a child and going back to as an adult. … I had no choice but to just open my mouth and say what I saw to the millions of people that were watching us around the country.

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On undocumented immigrants being central to rebuilding the city

These types of massive both humanitarian and natural disasters give us X-ray vision for a time into sort of the fissures that are underneath the surface in our society. And Los Angeles, in addition to being one of the most unequal cities between the rich and the poor, has more undocumented people than virtually any other city in the United States of America. Governor Newsom knew that with the policies of the incoming administration, some of the very people that would be responsible for the cleanup and the rebuilding of Los Angeles may end up in the crosshairs of national immigration policy. And I think that that was an understatement. …

Pablo Alvarado in the National Day Laborer Organizing Network said to me that often the first people into a disaster — the second responders after the first — are the day laborers. They went to Florida after Hurricane Andrew, to New Orleans after Katrina, and they’d be ready to go in Los Angeles. And I went out and I cleaned up Altadena and Pasadena with some of them in real time.

And only months later did this wide-scale immigration enforcement campaign begin … on the streets of LA as sort of the Petri dish, the guinea pig for expanding this across the country. And it’s not an exaggeration to say that the parking lots of Home Depots, where workers [were] looking to get involved in the rebuilding of Los Angeles, has been ground zero for that enforcement campaign.

On efforts to rebuild

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The pace is slow and it’s sort of a hopscotch of development. And I think for people who do come back, for people who can afford to come back, it’s going to be a long road ahead. You’re going to have half the houses on your street under construction for years to come. And for people that do inhabit those homes, it’s going to an isolating experience. But there’s an effort underway to rebuild. …

There’s also a lot of for-sale signs. And that’s the sad reality of this, is that there are people who, whether it’s that they can’t afford to come back … or that they just can’t stomach it, I think, sadly, a lot people are not going to be returning to their homes.

On what the Palisades and Altadena look like today

They both look like very big construction sites in a way. There are still some facades, some ruins of the more historic buildings in the Palisades. … But mostly it’s just empty lots. And in Altadena, the same thing. If you drive by the hardware store, the outside is still there. But it’s a patchwork of empty lots. Homes now under construction. And lots and lots of workers. … There are still a handful of people who are living in both the Palisades and in Altadena, but for the most part, these are communities where you’ve got workers going in during the day and coming out at night. …

We have designed this community to be one that’s in the crosshairs of a fire just like the one we experienced and that we will certainly, certainly experience again, because nobody’s packing it up and leaving Los Angeles. People may not return to their communities after they’ve lost their homes, but the ship has sailed on living in the wildland urban interface in the second largest city in the country.

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On seeing this story, personally, as his “most important assignment”

Jacob Soboroff is a correspondent for MS NOW, formerly MSNBC.

Jacob Soboroff is a correspondent for MS NOW, formerly MSNBC.

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Jason Frank Rothenberg/HarperCollins

I don’t think I realized at the time how badly I needed the connections that I made in the wake of the fire, both with the people who have lost homes and the firefighters, first responders who were out there, but also honestly with my own family, my immediate family, my wife and my kids, my mom and my dad and my siblings and myself. I think that this was a really hard year in LA, and I think in the wake of the fire, I was experiencing some level of despair as well. Then the ICE raids happened here and sort of turned our city upside down. And this book for me was just this amazing cathartic blessing of an opportunity to find community with people I don’t think I ever would have otherwise spent time with, and to reconnect with people who I hadn’t seen or heard from in forever.

Anna Bauman and Nico Wisler produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.

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