Craig Revel Horwood, best known as a long-standing judge on the television dance competition Strictly Come Dancing, has emerged as a passionate advocate for pantomime, a traditional British theatre form often associated with the holiday season. Having performed in pantomimes for over two decades, Revel Horwood has recently authored a book, *The Book of Panto*, which explores the history, cultural significance, and enduring popularity of this theatrical genre.

Initially skeptical about pantomime, Revel Horwood describes how his perspective transformed after personally taking on roles such as Captain Hook, the Wicked Queen in *Snow White*, and, most recently, Carabosse in *Sleeping Beauty* at the Bristol Hippodrome. He credits pantomime with demanding a diverse range of skills, including singing, dancing, acting, and improvisation, often within a short rehearsal window of just four days. He emphasizes the challenging nature of the art form, noting that it can be more complex than typical musicals due to its interactive dynamic with live audiences.

Revel Horwood reflects on the unique relationship pantomime has with its audiences, highlighting the improvisational elements and the spontaneous moments that often delight theatre-goers, such as accidental mishaps on stage. He likens the experience of handling hecklers and engaging spectators to stand-up comedy. According to him, regional differences in audience reactions are notable, with Northern audiences tending to be more vocally engaged and enthusiastic compared to their Southern counterparts.

Tracing pantomime’s origins, Revel Horwood incorporates research into its historical roots, which include the 16th-century Italian commedia dell’arte and links to Shakespearean theatre. He points out that pantomime shares Shakespeare’s tradition of blurring gender roles and encouraging lively audience participation, elements that have contributed to its lasting appeal.

In the book, Revel Horwood also features insights from other prominent performers associated with pantomime, such as David Suchet, Lesley Joseph, and Sir Ian McKellen, who have all praised the genre’s vibrancy and resilience despite past critical snobbery. Lesley Joseph notes that attitudes toward pantomime have shifted positively over time, with greater recognition afforded to the craft and those who perform in it.

Financially and culturally, pantomime plays a vital role in supporting UK theatres, often accounting for a significant portion of their annual revenue. The genre’s economic impact is underscored by reports that over 260 professional pantomimes contributed around £60 million to the British economy in the previous year. Revel Horwood emphasizes that this economic significance, alongside its popularity—drawing roughly a million attendees annually—deserves more respect within the wider theatrical community.

In addition to his theatre work, Revel Horwood continues to serve as the only original judge on the current 24th series of Strictly Come Dancing. He remains engaged with new presenters Emma Willis, Josh Widdicombe, and Johannes Radebe, expressing support for their contributions despite some criticism from fans and critics alike.

Revel Horwood’s commitment to pantomime and his multifaceted career reflect his broader desire to showcase the breadth of his talents beyond his television persona. He acknowledges the physical and vocal demands of performing pantomime, especially during busy holiday schedules, but remains enthusiastic about the camaraderie, creative challenges, and joy the genre provides. With his new book available to the public, he seeks not only to educate but also to celebrate a theatrical tradition that continues to enchant audiences across the UK.