The word ‘pantomime’ comes from the Latin ‘pantomimus’, which was used in ancient Rome to describe a dancer who acted all the parts in a tale, using masks, gestures and mime to distinguish between characters. The story would often be based on Greek mythology, and the performance would be accompanied by music, usually from a flute or chorus. 

But in fact, the roots of modern pantomime are in the 16th century, in an Italian street theatre tradition known as commedia dell’arte. The theatrical form was toured around Europe, popping up in markets and fairgrounds where its cast of masked characters proved popular with local crowds. And while these street comedies would have looked very different to the tradition of panto that we know and love today, they contained many elements that modern audiences would recognise: a well-trodden story featuring stock characters in exaggerated costumes, the triumph of good over evil, plenty of physical comedy and topical jokes, and – crucially – a reliance on music. 

 

A typical commedia production included several well-known characters such as the old man Pantalone, his mischievous servant Pulcinella, the sad clown Pierrot, the acrobatic servant Arlecchino and his love interest, Colombina. In 17th and 18th century England, Arlecchino became Harlequin, the hero of the story – a clever comedian whose spirits were always high. Harlequin’s wooden stick, which he used to hit the scenery and trigger changes in the set, gave rise to the word ‘slapstick’. 

 

Perhaps because they sometimes used classical mythology as the basis for their stories, and relied on music and dance – much like those ancient Roman performers – the word ‘pantomime’ became attached to these ‘Harlequinade’ productions. 

Pantomimes are often viewed as a British tradition that doesn’t change. In truth, it’s an art form that has always adapted with the times. But there are some things that most modern audiences would view as absolute rules for a panto, including: 

 

No panto is complete without its audience! Few theatrical productions ‘break the fourth wall’ as much as pantomime does. The open invitation to take part and interact with the performers is one of the great joys for younger audience members. The highlight of any panto, often just before the finale, is the ‘song sheet’, where children are selected to join the cast on stage. Lyrics are displayed for all the audience to sing along, often with a competition to see which half can sing the loudest. 

 

For many children, the Christmas pantomime will be their first experience of live theatre and music. Being encouraged to sing, boo, hiss and cheer, and to shout ‘Oh no it isn’t! or ‘It’s behind you!’ is a rite of passage – and it may just be the seed that sparks a lifelong interest in the arts. So, while pantomime may continue to adapt and develop new traditions, we can only hope that audience participation is a tradition that will stay for good.