Craig Revel Horwood, known for his long-standing role as a judge on the BBC’s Strictly Come Dancing and as a pantomime villain for over 17 years, has opened up about his challenging childhood and career in a new memoir, *The Book of Panto*, set to be published on October 8. Now 61, Horwood shared insights into how his early experiences shaped both his personal resilience and his professional persona.
Horwood grew up in Ballarat, a traditional goldmining town in Australia, in a household marked by his father Phil’s alcoholism and violent behavior. He described himself and his siblings as “little slaves” during those years, living under the shadow of his father’s unpredictable outbursts, which were fueled by intoxication. Despite the abuse, Horwood emphasizes the distinction between his father’s character when sober and when drunk, framing his father’s cruelty as a product of his addiction rather than inherent villainy. This complex relationship has led Horwood to a process he describes as “reloving” his father since his death.
Horwood credits dance as his escape from a troubled home life, revealing that at 17 he entered into a transactional relationship with a 42-year-old man who paid for his dance lessons. He speaks of this arrangement with a sense of compassion, refusing to condemn the circumstances that allowed him to pursue what he calls his “freedom” through dance.
His mother, Beverley, played a crucial role in supporting his ambitions despite the family’s difficulties. Horwood honors her in his memoir, acknowledging the sacrifices she made, including enduring his father’s abusive behavior, to ensure her children’s opportunities. Beverley eventually received recognition for her contributions to theatre in Australia, earning the Medal of the Order of Australia for her services. The family’s situation culminated in a violent episode in 1989, when Phil threatened Beverley with a gun, leading to his imprisonment and the couple’s eventual divorce.
Horwood’s pantomime career began after he was discovered by a producer a few years into his Strictly tenure. Initially struggling in the role of the Evil Queen in *Snow White* during a Llandudno production, Horwood’s performances improved significantly, endearing him to audiences with his singing, acting, and improvisation. He describes pantomime as a vibrant and emotionally engaging British theatrical tradition in which the audience plays a central role, and where good ultimately triumphs over evil—a narrative arc he contrasts with his own childhood experience.
Throughout his career on *Strictly Come Dancing*, Horwood has cultivated a reputation as the show’s “villain,” a role he embraces with self-awareness. He reflects that embodying this character may serve as a controlled outlet for the anger he witnessed in his father, though he insists that the villainy he portrays is distinct from the complexities of his past. He also spoke warmly of his friendship with the late Ann Widdecombe, co-star on both the Strictly arena tour and pantomime productions, highlighting her kindness and contrasting her public political persona with the private warmth she showed.
Horwood remains outspoken on issues related to social change, noting recent updates in pantomime plots to align with contemporary understandings of consent. He emphasizes the enduring appeal of the villain role, a character he believes carries both theatrical excitement and an essential moral function within the genre.
*The Book of Panto* is an affectionate celebration of a uniquely British theatrical form as well as a personal memoir of a man who has transformed adversity into artistic expression and professional success.