A Night at the Pantomime


One of the Christmas traditions we still hold on to in the UK is that of the yearly pantomime – or ‘panto’, as it is often called. Last year, we decided to make our first visit to the pantomime in many years, and headed into Lincoln to see Aladdin at the New Theatre Royal.

Having enjoyed it so much, we decided to see if this year’s production, Snow White and the Seven Dwarfs, was as much fun. We weren’t disappointed. Unfortunately, as last year, we weren’t allowed to take any photos once the production had started, but we were told it would be okay to take photos from around the theatre once all the spectators had left. This photo of the stage screen (for want of the correct name) was taken before the show started, and because it doesn’t show any people, I decided it should be okay:

These are a few more  photos from around the theatre and foyer:

The New Theatre Royal is a very special place to the people of Lincoln. The Victorian theatre was built in 1893 on the site of a previous theatre built in 1806 which had been destroyed by fire. (The old, 1806 theatre was, in turn, a rebuild of an even older Lincoln  theatre built in 1764 – though not on the same site.) The 1893 theatre was falling rapidly into a state of disrepair when the current owners bought it in 2016. After extensive refurbishment and modernisation, this Grade II listed building now looks fabulous.  Snow White is the third pantomime produced here since the theatre was restored – the interior design created to resemble the 1893 interior as closely as possible. We didn’t take any photos of the outside, but I found this one on Wikipedia:

Frontage of the New Theatre Royal, Lincoln. 2 Feb. 2017. Source/Author: New Theatre Royal

We were also told we could take photos from the brochure, so here are three of the cast – a mix of professional actors and comedians, resident stars and local groups.

So, what exactly is a pantomime, and what can we expect when we go to see one?

The actual word pantomime is formed from two words: panto+mime, which means ‘all kinds’ of ‘mime’. It is a type of musical comedy designed for family entertainment. In many countries outside of Britain, pantomime usually refers to mime alone, whereas here it includes songs, bawdy jokes, slapstick, topical humour and dancing, all wrapped around the telling of a story, loosely based on a well-known fable, fairy story or folk tale. Some of the most popular stories include Cinderella, Aladdin, Sleeping Beauty, Dick WhittingtonJack and the Beanstalk, Snow White and the Seven Dwarfs, Babes in the  Wood and Peter Pan. They are performed over the Christmas and New Year season in many towns and cities across the UK, as well as a few other English speaking countries and France. Some of the larger, city theatres employ professional actors, but there are many pantomimes produced by smaller theatres and amateur dramatic societies.

Pantomime has a long history in Western culture, dating back to the classical theatre. It is generally accepted that British pantomime stems from the masques of Tudor and Stuart times. In the 14th century, masques were performed in the large houses of the rich and were either spoken dramas or musical mime. The timing of the British pantomime at Christmas – with the principal  boy played by a girl and the Dame by a man – may have originated in the Feast of Fools in Tudor times. This was presided over by the ‘Lord of Misrule’ and involved much drinking and rowdy merrymaking.

Hare chasing, riding a dog. Medieval tile found at the Friary Derby, UK. Source: The Reliquary, vol 3 no.2 Oct 1862. Author: Llewellynn Jewitt. Public Domain

The idea of the selection of the Lord of Misrule himself is thought to have originated in the days of mighty Rome, when masters allowed servants to be in charge for a while during the mid-winter festival of Saturnalia. The result? Chaos reigned.

There is so much more to the history of pantomime than I have outlined here – from the days of Roman pantomime at Saturnalia to the origins of a 17th century French comic genre called the Harlequinade. The latter is the part of a pantomime in which the characters of the Harlequin and Clown play the main parts. Until the 19th century, the harlequinade was an important part of British pantomime. For anyone interested, there are many online sites to delve into.

Pantomime F Warne & Co. 1890. Author: User Wetman on en Wikipedia. Public Domain

Pantomime contains certain key elements that spectators expect to see in every performance. In addition to a strong story line, slapstick (custard pies, silly costumes etc.) and music and dance, a few of those elements are:

        • Audience participation. This usually includes the audience booing the villain every time he/she appears, shouting out ‘He’s behind you!’ when a wolf or villain arrives on stage and taking part in the two-way argument: ‘Oh yes he is!’ .  . . ‘Oh no it isn’t!’
        • Goodies and baddies – and the villain is always defeated by the end of the show. Baddies include characters like Captain Hook in Peter Pan and the Wicked Queen in Snow White. The goodies all live ‘happily ever after’.
        • A group of juveniles, generally as singers and dancers, but not always. It the version of Snow White that we saw, youngsters played the seven dwarfs, although there were a few older ‘teenagers’ amongst the dancers.
        • Comical fights and chases, during which the audience warning shouts of ‘He’s behind you’ come into play.
        • Role reversal/gender-crossing actors – men dressed as women and women as men. Examples of men dressed as women are Widow Twankey in Aladdin , and the Ugly Sisters in Cinderella. Also in Cinderella we have a woman playing a male called ‘Buttons’.
        • A key, gender-crossing character in every pantomime is the ‘Dame’, a man outrageously dressed as a woman and whose performance is exaggerated and extravagant. Widow Twankey in Aladdin and  and Nurse Flossy in Snow White are examples, as is this ‘large’ female from an 1887 production of Babes in the Wood. I’ll make no comment regarding the appearance of the ‘child’ other than, ‘Oink, oink’!
          Dan Leno and Herbert Campbell in costume for the 1897 pantomime, The babes in the Wood at the Theatre Royal, Drury Lane. Source: The Sketch, Illustrated London News, 19 January 1898. Public Domain.
          • The Dame is generally played by an oldish, unattractive man who interacts with the two principal characters and is instrumental to the plot and the happy ending. It is thought that role reversal may have also evolved from the ‘Feast of Fools’ of Tudor times, in which the Lord of Misrule created an unruly, raucous event involving role reversal, a lot of drinking and noisy festivities. As I mentioned above, the whole idea probably originated in the Roman festival of Saturnalia.

The New Theatre Royal continues to be a popular venue in Lincoln. There are shows during the year, and in 2019 they kick off with The Variety Show on January 26 and The Wizard of Oz over the Easter period (April 13-23). And next Christmas, we can look forward to the pantomime, Robin Hood, for which bookings can already be made! Yes, pantomime continues to be a popular as ever in Lincoln – and by no means is the New Theatre Royal the only place to see one – but it is nice and comfortable, and full of old world charm…

A Celebration of Christmas Trees at Doddington Hall

Doddington Hall is situated in the Lincolnshire village of Doddington, about seven miles from the city of Lincoln. It was built between 1593 and 1600 by Robert Smythson, one of England’s most renowned architects.  The Hall has a large estate on which Christmas trees are grown and a careful programme of planting/replanting is carried out. We have bought our tree from here for many years now.


For the past six or seven years Doddington Hall has opened its doors for the Christmas season, this year from November 25 to December 23. The rooms are decorated to a particular festive theme each year, this year ‘s being simply, Christmas at Doddington. Last year the theme was Christmas in Wonderland, which can be seen here  and the previous year’s was A Fairytale Christmas, here. Both were a delight to see.
Christmas trees were first planted at Doddington 60 years ago and this year’s theme in is celebration of that, with decorations inspired by the carol O Christmas Tree. A great selection of Christmas trees adorn the rooms and hallways, all different in size and shape, and each decorated differently by using an incredible array of objects and materials. Some of the ‘trees’ are actual trees, others are created from either natural vegetation or seasonal/festive items such as drinking glasses and wine bottles. It’s all very colourful and in keeping with the Georgian ‘feel’ of the hall – the period in which Doddington was refurbished in the style it still looks today. And once through the front door, passing a tiny ‘tree’ decorated with good old Brussels Sprouts!. . .

. . . we’re straight into the large dining room.Here are some photos of how it looks this year. Most of the small ‘trees’ are along the dining table, others:

By the entrance to the hall from the dining room is a little room in which we found another ‘tree’ made of bottles, these containing varying amounts of liquids – presumably of the original wine, spirit or liqueur:

Also on the ground floor was the parlour, an interesting room, in keeping with Victorian  entertainments and parlour games, as played following the popularising of the Christmas tree by Prince Albert in 1840.

Waiting in the hallway at the bottom of the stairs was a very smiley and welcoming ‘Head Elf’. . .

. . . who we had a little chat with before heading up the impressive staircase. . .

. . . to reach the first and second floors – with Christmas trees hanging on the landings between:

On the first floor landing itself was… yes!… another tree! A real spruce this time:

 On this floor there were three rooms open to the public, although we took no photos in one because it was too dark, and we assumed flash photography wasn’t allowed. One room was a small child’s bedroom, in which was a Scots Pine Christmas tree:

The other room on this floor served is the drawing room (or, withdrawing room) – to which genteel ladies would retreat after dinner, leaving the men to talk politics – or whatever! This room was very unusual, in that a number of ladies’ dresses had been created out of… yes, again!… Christmas trees (real ones), along with other bird-inspired decorations:

Eventually we got to the second/top floor, passing on the landing en-route a Christmas tree hanging from the ceiling to display its roots!

There are two rooms on view at the ‘ top’. One was decorated to show the inside of an Egyptian tent – a real one, too. The tree was lovely, displaying colourful roses, made of  thin card, as far as we could tell. We wondered whether the ‘roses’ were to represent  ‘sand roses’ found in desert environments:

This is a little bit about the actual tent (not the roses) from a much longer piece in the room:

The tent was made around 1880 in Cairo, where similar tents are still used today for weddings, festivals and fairs. It was given to Doddington by Viscount Harry Crookshank, who was MP for (nearby) Gainsborough for over 31 years, until 1961. He was born in Cairo, where his father was Surgeon General and the tent was part of his father’s ‘Eastern Curiosities’.

Lastly is the largest upstairs room, This year it displayed models of a village and nearby railway on a Christmas Eve.

Doddington  Hall at Christmas is a delight for people of all ages to soak up the historic, Christmassy atmosphere. At £11 per adult and £5.50 per child (under 3 years free and  family entry £29) it isn’t particularly cheap. But for the time and energy that the staff put into these displays, it’s well worth a visit. Bookings can also be made for children to visit Father Christmas in his grotto on certain days.

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