£40,000 costumes and 19 Christmases sacrificed: What it really takes to keep Britain’s glitziest tradition alive

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I didn’t expect to be interviewing actor Nigel Havers while he was driving to a pantomime rehearsal in London, with a slightly staticky phone connection, but that’s exactly how it happened.

Speaking quickly and enthusiastically, he claims to have flown over the London Palladium more times than anyone else, but then immediately adds he hasn’t celebrated a traditional Christmas in nearly two decades, before hurrying out of the car in less than fifteen minutes.

It was after this quick conversation that I realized it perfectly summed up the experience of working in pantomime.

It’s a classic British spectacle, but done at a breakneck pace! This multi-million pound industry has roots stretching back to the 1500s, yet performers only have a week to rehearse. Hundreds of people, plus all the costumes and sets, are crammed into a theater space originally meant for smaller shows. And the audience – often families with young children – is especially delighted by Julian Clary’s clever and playful jokes.

This year’s production at the theatre will be a three-week performance of Sleeping Beauty, featuring returning favorites Havers and Clary, as well as Catherine Tate, known for her role in Doctor Who.

I have to say, this performance feels extra special. It’s been a full decade since pantomime made its comeback at the Palladium, and as producer Michael Harrison rightly points out, that’s ten years of King Julian ruling the stage! It really adds to the celebratory atmosphere.

For the past twenty years, Michael Harrison has directed a vast number of pantomimes, beginning with his production of Sleeping Beauty at Glasgow’s Kings Theatre.

The producer had no prior experience with professional pantomime, but he managed to get the job by confidently promising theatre organizers a deal: if his show didn’t receive at least four stars in a review from The Scotsman newspaper, they would only have to pay him £1.

Our show runs year-round, and we begin planning a year ahead of time – everything from costume designs to the set. It’s a long-standing Victorian tradition to have a spectacular magical moment at the end of the first act, similar to scenes like Cinderella going to the ball or Aladdin discovering the cave. We’re always working to make that opening act fresh and exciting.

Let me tell you, the costumes for this production are no joke! I was hearing that Julian Clary’s outfits alone have a budget that rivals some full-blown West End shows. Seriously, they’re spending between £30,000 and £40,000 just on his costumes. It’s a level of detail and expense you don’t often see, and it really shows.

Sometimes the balloons are so enormous that when the pilot lands, they need to be lifted back up to the launch area with ropes because they block the entire field.

He also pointed out that even with a lot of preparation, a pantomime’s rehearsal period can be just a week, and the final technical rehearsals only about four days before opening night – much shorter than the three to four weeks typically needed for West End musicals.

You know, I was reading about how the Julian Clary and Nigel Havers stage show really clicked right from the start. Apparently, as Harrison pointed out, the whole dynamic – Julian getting playfully annoyed with Nigel just for existing – was a hit with the audience from the very first performance. It’s funny how something so simple can really work, isn’t it?

Havers strongly agreed with the sentiment, explaining that Julian consistently treats him poorly and is often incredibly rude. He recalled that last year, Julian even referred to him as ‘the poster boy for assisted dying’.

Performing with him is always the best part of the year. He’s truly a comedic talent.

Both Harrison and Havers revealed that the production is very carefully controlled, using precise lighting and sound cues to ensure everything runs smoothly.

Harrison explained that stories should be concise and move quickly, but he questioned whether that always happens perfectly.

He recounted a funny incident during a performance of Aladdin. Apparently, a piece of the set fell on Julian’s head during the very first show. Julian was supposed to walk forward, but the curtain came down too quickly, hitting him and knocking him off balance. It hurt, but the audience thought it was hilarious.

Thankfully, that particular incident never repeated itself, but live performances always carry a risk of unexpected moments. There was a playful, slightly suggestive exchange between Julian and Donny Osmond during a song, and the audience quickly picked up on it – it was all lighthearted fun and innuendo.

Fans will be happy to hear the enjoyable atmosphere extends behind the scenes, with Nigel Havers calling it a close-knit, family-like environment.

Performing is exhilarating because the audience is so excited, especially at Christmas. The big laughs and applause create a warm, family-like atmosphere both on and off stage.

Pantomime is also a surprisingly big employer, creating jobs not only in London but in theaters throughout the UK.

As Harrison explained, the production involves a large team – 16 dancers, 10 leads, 12 musicians in the orchestra, plus everyone working behind the scenes. He also noted that pantomime is a great way to attract audiences to the theater, especially those who might not usually attend performances throughout the year.

Local theaters often rely on income from their annual pantomime performances to fund other productions, like plays or dance shows. This makes panto season incredibly important for supporting the arts in the community.

Why are pantomimes so popular in Britain? It’s a truly unique tradition and one of the few times the whole family can enjoy a shared experience purely for fun and entertainment, without any pressure or challenge.

Havers explained that the show offers something for all tastes. He believes its success lies in its vibrant energy, humor, and emotional moments, admitting they don’t focus heavily on having a complex storyline.

Neither of them could give me many details about this year’s 10th anniversary show at the Palladium, except that it’s going to be grander than before. Nigel Havers did promise me he’ll be performing aerial stunts again this year.

Shop pantomime tickets at ATG Tickets

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2025-12-05 10:06