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.

Pantomime has been making audiences laugh for a very long time. From ancient Greece to the Italian Commedia tradition to the glittering stages of Victorian Britain, the history of panto is one of the most gloriously improbable in all of theatre. Oh yes it is!