The pantomime villain is the engine of the show. Without genuine menace, the hero's triumph means nothing and the audience has no one to boo. I've written villains across fourteen scripts, and the same craft questions come up every time. Here's what I think makes the difference.

Our Little Mermaid takes the classic underwater story and fills it with a scene-stealing sea-witch, a Dame devoted to saving the wails, a lobster with an exhausting number of honorary titles, and a bargain that costs Ariel her voice.

Pantomimes draws on a set of recurring character types, each with a specific job to do in the story and in the room and understanding them is essential to a great show. Here is a proper look at all of them.

Volunteered to direct your first pantomime and not entirely sure where to start? You're not alone. This guide covers the decisions that matter most, from choosing the right script to running your first rehearsal, and gives you a clear path through the process.

A pantomime that looks good feels more magical, and looking good doesn't require a professional design budget. Here's what I've found works for set design and costumes, from the simpler end right through to the fully built production.

Songs can make or break a pantomime. Choose them well and they lift every scene they're in; choose them badly and they slow the show down. Here's my thinking on how to pick the right numbers, and what the Panto Songs page is there to help you with.

A well-timed sound effect can get a bigger laugh than a great line. Terrible sound timing can kill a scene stone dead. Here's what I've found works for pantomime sound and music, from villain stings to the live band advantage and briefing your sound operator.

A pantomime audience isn't just watching, they're part of the show. How you play to them, include them, and ride their energy makes the difference between a performance that works and one that truly flies. Here's what I've found helps most.

You've got a finite number of rehearsals, and they'll go one of two ways. Here's what I've learned about rehearsing pantomime properly: getting off book fast, keeping the show moving, and knowing it’s only a mistake if the audience notice!

Most groups aren't at either extreme. Five of our scripts sit in the medium cast sweet spot, 10 to 13 principal roles, but they're quite different shows. Here's what makes each one the right fit for a particular kind of company.

Pantomime comedy is a specific craft, and the instinct to "play funny" is often the thing that gets in the way of it. Here's what I've found actually works, from casting decisions to keeping a straight face at exactly the right moment.

Not all large cast scripts are the same. Some need the numbers to work properly; others scale up naturally. Here's how to tell the difference, and which of our scripts belongs in which camp.

A small cast doesn't mean a small show. Four of our scripts work particularly well with nine principals or fewer, and each one approaches the challenge differently. Here's what makes Aladdin, Beauty and the Beast, Hansel and Gretel, and Jack and the Beanstalk the right choice when your company is compact.

Choosing a pantomime script is one of the most consequential decisions your group will make all year. Five questions that will get you to the right answer.

Found your script? Here's exactly how to secure your Performance Licence and get the show underway, from Perusal Script to signed contract in four steps.