Every so often, an award ceremony manages to elevate beyond the typical pageantry of acceptance speeches and teary thank-yous. The PANTOMIME AWARDS 2025 look poised to do exactly that, partly due to the extraordinary scope of this year’s judging efforts: a record 52 judges journeyed to 216 venues to watch over 496 performances. Think about that for a moment—nearly 500 pantomimes up and down the country, from small local theatres to major city stages. This herculean effort reflects a thriving pantomime culture, even in an era dominated by digital diversions and streaming platforms. The numbers alone suggest that panto continues to be relevant, exciting, and beloved by audiences of all ages.
The UK Pantomime Association, formed in 2021, has been pivotal in coordinating and championing these beloved shows. Its mission—“to explore, share, and celebrate pantomime”—breathes fresh life into a theatrical style that’s been around for generations. By acknowledging new talent while saluting the veterans, these awards serve as a veritable snapshot of where pantomime stands today: brimming with creativity, comedic flair, and that irrepressible sense of fun we all crave.
The Legacy of Nigel Ellacott: A New Award Honouring Pantomime Heritage
This year, an especially poignant honour is being introduced: the Nigel Ellacott Special Recognition Award for Pantomime History, Tradition and Heritage. Nigel Ellacott, who sadly passed away in 2024, was a longtime champion of pantomime in multiple guises: performing as Sister and Dame, designing costumes, writing scripts, and working tirelessly to keep panto’s unique spirit alive and well. Whether you spent Christmas cheering him on at your local theatre or reading his pantomime blog, chances are you’ve come across his irrepressible zest for the genre.
The new award aims to enshrine his legacy by recognising individuals (or perhaps entire companies) who’ve made a similarly significant contribution. It’s a heartfelt reminder that pantomime is more than just a form of entertainment—it’s a treasured cultural institution, brimming with history and tradition, propelled forward by dedicated artists who love nothing more than hearing the entire audience shout, “He’s behind you!”
Record-Breaking Audiences and a Touch of Panto Magic
Before we delve into the nominees, let’s consider the unique angle that sets pantomime apart from other theatre genres. In many shows, the fourth wall remains firmly in place—audiences observe but rarely participate. In pantomime, that wall might as well be made of confetti and glitter. The comedic asides, the playful banter, and the exhilarating call-and-response whip audiences into an atmosphere akin to a carnival.
This tradition of active engagement might explain why pantomime draws such varied crowds year after year. It’s a staple for families, yes, but also for teens out on a lark, and even couples looking for a quirky date night. According to some local theatre surveys, panto ticket sales regularly bolster smaller venues’ finances, underwriting the rest of their season’s offerings. So, while the comedic mishaps on stage are a hoot, the real triumph might be how pantomime supports the theatrical ecosystem as a whole.
Who’s in the Running?
Of course, the real question on everyone’s lips is: “So, who’s nominated?” The array of categories in the PANTOMIME AWARDS 2025 is as diverse as the shows themselves, highlighting the depth of talent that goes into producing these spectacles. And the nominees are:
Best Choreography
● Arran Anzani-Jones: BEAUTY AND THE BEAST, Grove Theatre, Dunstable (Evolution Productions)
● Ebony Clarke: CINDERELLA, Royal and Derngate, Northampton (Evolution Productions)
● Joanna Goodwin: SNOW WHITE AND THE SEVEN DWARFS, Theatre Royal Plymouth (Crossroads Pantomimes)
● Lauren Stroud: ALADDIN, Beck Theatre, Hayes (Imagine Theatre)
● Shay Barclay: DICK WHITTINGTON AND HIS CAT, Hackney Empire, London (In-House)
Best Lighting
● Andy Webb: SLEEPING BEAUTY, Festival Theatre, Malvern (UK Productions)
● Hallam Cleverley: PINOCCHIO, Theatr Colwyn, Colwyn Bay (Magic Light Productions)
● Jamie Corbidge: ALADDIN, Wycombe Swan, High Wycombe (Imagine Theatre)
● John Rainsforth: MOTHER GOOSE, The Customs House, South Shields (In-House)
● Oscar Wady: ROBIN HOOD, Pavilion Theatre, Worthing (Paul Holman Associates)
Carmen Silvera Award for Best Magical Being
● Danielle Jam: JACK AND THE BEANSTALK, His Majesty’s Theatre, Aberdeen (Crossroads Pantomimes)
● Darren Brownlie: PETER PAN, King’s Theatre, Glasgow (Crossroads Pantomimes)
● Julie Yammanee: ALADDIN, Assembly Hall Theatre, Tunbridge Wells (Little Wolf Entertainment)
● Katy Ashworth: JACK AND THE BEANSTALK, Central Theatre, Chatham (Jordan Productions)
● Mina Anwar: CINDERELLA, Derby Arena (Little Wolf Entertainment)
Barbara Windsor Award for Best Principal Lead
● Aoife Kenny: SNOW WHITE AND THE SEVEN DWARFS, Lyceum Theatre, Sheffield (Evolution Productions)
● Kitty Harris: CINDERELLA, Blackpool Grand Theatre (UK Productions)
● Luke Suri: ALADDIN, Everyman Theatre, Cheltenham (In-House)
● Mia Overfield: SNOW WHITE AND THE SEVEN DWARFS, Fairfield Halls, Croydon (UK Productions)
● Roshani Abbey: SLEEPING BEAUTY, Broadway Theatre, Catford (Joy Productions)
Best Script
● Anthony Spargo: DICK WHITTINGTON AND HIS CAT, Greenwich Theatre, London (In-House)
● David Phipps–Davis: THE NEW ADVENTURES OF PETER PAN, Mercury Theatre, Colchester (In-House)
● Eric Potts: GOLDILOCKS AND THE THREE BEARS, The Big Top at Ayrshire Athletics Arena, Kilmarnock (Imagine Theatre)
● Jo Mawhinney: TREASURE ISLAND, Georgian Theatre Royal, Richmond, North Yorkshire (In-House)
● Vikki Stone: SLEEPING BEAUTY, New Wolsey Theatre, Ipswich (In-House)
Best Secondary Lead
● Aaron Dart: CINDERELLA, Exeter Northcott Theatre (Exeter Northcott Theatre and Le Navet Bete)
● Callum Connolly: SNOW WHITE AND THE SEVEN DWARFS, Fairfield Halls, Croydon (UK Productions)
● Durone Stokes: SLEEPING BEAUTY, Broadway Theatre, Catford (Joy Productions)
● Matthew Croke: SNOW WHITE AND THE SEVEN DWARFS, Lyceum Theatre, Sheffield (Evolution Productions)
● Mia Welsh: DICK WHITTINGTON, Theatre Royal Windsor (In-House)
Best Villain
● Anthony Spargo: DICK WHITTINGTON AND HIS CAT, Greenwich Theatre, London (In-House)
● Cara Dudgeon: SNOW WHITE, Loughborough Town Hall (Little Wolf Entertainment)
● Lorraine Stanley: DICK WHITTINGTON, King’s Theatre, Portsmouth (In-House)
● Tom Hopcroft: JACK AND THE BEANSTALK, Nottingham Playhouse (In-House)
● Zoe West: RAPUNZEL, Everyman Theatre, Liverpool (In-House)
Best Comic
● Ben Goffe: CINDERELLA, Wyvern Theatre, Swindon (Imagine Theatre)
● Celia Cruwys-Finnigan: MOTHER GOOSE, THE ROCK ‘N’ ROLL PANTO, Theatr Clwyd, Mold (In-House)
● Johnny Mac: PETER PAN, King’s Theatre, Glasgow (Crossroads Pantomimes)
● Ruby Ablett: ALADDIN, Theatre Royal Bury St Edmunds (In-House)
● Steve Royle: CINDERELLA, Blackpool Grand Theatre (UK Productions)
Best Costume Design
● Emily Stuart: JACK AND THE BEANSTALK: The Theatre, Chipping Norton (In-House)
● Janet Bird: RAPUNZEL, Everyman Theatre, Liverpool (In-House)
● Jasmine Swan: THE NEW ADVENTURES OF PETER PAN, Mercury Theatre, Colchester (In-House)
● Katie Lias: SLEEPING BEAUTY, Salisbury Playhouse (Wiltshire Creative)
● Ryan Dawson Laight: ALADDIN, Everyman Theatre, Cheltenham (In-House)
Christopher Biggins Award for Best Dame
● Allan Stewart: CINDERELLA, Festival Theatre, Edinburgh (Crossroads Pantomimes)
● Antony Stuart-Hicks: THE NEW ADVENTURES OF PETER PAN, Mercury Theatre, Colchester (In-House)
● Brad Fitt: SLEEPING BEAUTY, Theatre Severn, Shrewsbury (Evolution Productions)
● Matthew Siveter: SNOW WHITE, Loughborough Town Hall (Little Wolf Entertainment)
● Phylip Harries: MOTHER GOOSE, THE ROCK ‘N’ ROLL PANTO, Theatr Clwyd, Mold (In-House)
Best Direction
● Chantelle Nolan: SNOW WHITE AND THE SEVEN DWARFS, Theatre Royal, St Helens (Regal Entertainments)
● Chris Jordan: SNOW WHITE, Devonshire Park Theatre, Eastbourne (Eastbourne Theatres in association with Jordan Productions)
● Daniel Bell: BEAUTY AND THE BEAST, Lighthouse Theatre, Kettering (KD Theatre Productions)
● James Tobias: SNOW WHITE, Kenton Theatre, Henley on Thames (Immersion Theatre)
● Kylie Butler: CINDERELLA, Blackpool Grand Theatre (UK Productions)
Best Ensemble
● Abi Fullard, Zachary Kirkby, Amy Mcevoy, Bastiaan Van Leeuwen: SNOW WHITE, Devonshire Park Theatre, Eastbourne (Eastbourne Theatres in association with Jordan Productions)
● Alice Olby, Brogan Paris, Phoebe Silver, Daniel Clelland, Ethan Brenchley, Jack Barnato: DICK WHITTINGTON, Harlow Playhouse (KD Theatre Productions and Harlow Playhouse)
● Ayron Campbell, Harley Charles, Rebecca Hazel Cunningham, Neve Ellen, Nadine McMahon, Adam Paul Robertson, Luke Stone, Jackson Walker: JACK AND THE BEANSTALK, His Majesty’s Theatre, Aberdeen (Crossroads Pantomimes)
● Jazmin Davis, Anja Gibbs, Megan Hunt, Brooke Kelly, Frankie Lloyd, Grace Perry, Neve Darcy Reading, Arjun Mudahar, Patrick Rosinha: SNOW WHITE, Stag Theatre, Sevenoaks (Sevenoaks Panto)
● Nikki Schofield, Alanna Panditaratne, James Everest, Ariel Nyandoro, Jacob Stebbings: PETER PAN, Victoria Theatre, Halifax (Imagine Theatre)
Best Contribution to Music
● Dan De Cruz: SLEEPING BEAUTY, New Wolsey Theatre, Ipswich (In-House)
● James Harrison: SNOW WHITE AND THE SEVEN DWARFS, Lyceum Theatre, Sheffield (Evolution Productions)
● Jamie Noar: RAPUNZEL, Everyman Theatre, Liverpool (In-House)
● Rick Coates and Andy Pickering: CINDERELLA, Festival Theatre, Edinburgh (Crossroads Pantomimes)
● Tayo Akinbode: MOTHER GOOSE, THE ROCK ‘N’ ROLL PANTO, Theatr Clwyd, Mold (In-House)
Best Set Design
● Adrian Gee: MOTHER GOOSE, THE ROCK ‘N’ ROLL PANTO, Theatr Clwyd, Mold (In-House)
● Andrew Exeter: ALADDIN, Everyman Theatre, Cheltenham (In-House)
● Becky Minto: MOTHER GOOSE, Perth Theatre (In-House)
● Jasmine Swan: THE NEW ADVENTURES OF PETER PAN, Mercury Theatre, Colchester (In-House)
● Katie Lias: SLEEPING BEAUTY, Salisbury Playhouse (Wiltshire Creative)
Best Sisters
● Bob Golding and Ian Kirkby: CINDERELLA, Alban Arena, St Albans (Evolution Productions)
● Eleanor Burke and Sophie Hirst: CINDERELLA, Wyvern Theatre, Swindon (Imagine Theatre)
● Gareth Mitchell and Garnon Davies: CINDERELLA, Fareham Live (Imagine Theatre)
● Harry Howle and Steven Roberts: CINDERELLA, Cambridge Arts Theatre (In-House)
● Morgan Brind and Roddy Peters: CINDERELLA, Derby Arena (Little Wolf Entertainment)
Best Sound
● Ben Harrison: ALADDIN, Everyman Theatre, Cheltenham (In-House)
● Charlie Tipler: SNOW WHITE, Devonshire Park Theatre, Eastbourne (Eastbourne Theatres in association with Jordan Productions)
● Conrad Kemp: SNOW WHITE, Theatre Royal, St Helens (Regal Entertainments)
● Kate Harvey: JACK AND THE BEANSTALK, Gatehouse Theatre, Stafford (Imagine Theatre)
● Sam Forbes: ROBIN HOOD, Pavilion Theatre, Worthing (Paul Holman Associates)
Best Supporting Artist
● Charlotte Rutherfoord: JACK AND THE BEANSTALK, Hall for Cornwall, Truro (In-House)
● Jamie McKillop: MOTHER GOOSE, Gaiety Theatre, Ayr (In-House)
● Katie Barnett: PETER PANTO AND THE INCREDIBLE STINKERBELL, Tron Theatre, Glasgow (In-House)
● Laura-Jayne Woods: THE NEW ADVENTURES OF PETER PAN, Castle Theatre, Wellingborough (Parkwood Theatres)
● Marc Pickering: SNOW WHITE AND THE SEVEN DWARFS, Lyceum Theatre, Sheffield (Evolution Productions)
Best Newcomer to Pantomime
● Colum Findlay: JACK AND THE BEANSTALK, Eden Court, Inverness (Imagine Theatre)
● Frankie Thompson: GOLDIE FROCKS AND THE BEAR MITZVAH, JW3, London (In-House)
● Maisie Smith: BEAUTY AND THE BEAST, Marlowe Theatre, Canterbury (Evolution Productions and the Marlowe Theatre)
● Owain Wyn Evans: CINDERELLA, New Theatre, Cardiff (Crossroads Pantomimes)
● Rylan: JACK AND THE BEANSTALK, Cliffs Pavilion, Southend (Crossroads Pantomimes)
Best Newcomer to Industry
● Dylan Collymore: PINOCCHIO, Stratford East, London (In-House)
● Emma Robertson: SNOW WHITE, Loughborough Town Hall (Little Wolf Entertainment)
● Imad Eldeen: MOTHER GOOSE, THE ROCK ‘N’ ROLL PANTO, Theatr Clwyd, Mold (In-House)
● Lois Brook: DICK WHITTINGTON, Belgrade Theatre, Coventry (Imagine Theatre)
● Matthew Hodgkiss: RUMPELSTILTSKIN, The Met, Bury (The Big Tiny)
Best Pantomime (under 500 seats)
● DICK WHITTINGTON AND HIS CAT, Greenwich Theatre (In-House)
● MOTHER GOOSE, The Customs House, South Shields (In-House)
● MOTHER GOOSE, Gaiety Theatre, Ayr (In-House)
● PETER PANTO AND THE INCREDIBLE STINKERBELL, Tron Theatre, Glasgow (In-House)
● RAPUNZEL, Everyman Theatre, Liverpool (In-House)
Best Pantomime (500 – 900 seats)
● MOTHER GOOSE, THE ROCK ‘N’ ROLL PANTO, Theatr Clwyd, Mold (In-House)
● SLEEPING BEAUTY, Salisbury Playhouse (Wiltshire Creative)
● SNOW WHITE, Devonshire Park Theatre, Eastbourne (Eastbourne Theatres in association with Jordan Productions)
● SNOW WHITE, Loughborough Town Hall (Little Wolf Entertainment)
● THE NEW ADVENTURES OF PETER PAN, Mercury Theatre, Colchester (In-House)
Best Pantomime (Over 900 seats)
● ALADDIN, Wycombe Swan Theatre, High Wycombe (Imagine Theatre)
● CINDERELLA, Blackpool Grand Theatre (UK Productions)
● CINDERELLA, Festival Theatre, Edinburgh (Crossroads Pantomimes)
● PETER PAN, King’s Theatre, Glasgow (Crossroads Pantomimes)
● SNOW WHITE AND THE SEVEN DWARFS, Lyceum Theatre, Sheffield (Evolution Productions)
A Behind-The-Scenes Secret: The Travelling Judges
One detail not everyone realises is the sheer level of dedication from the pantomime judges. Imagine devoting your November-to-January weekends (and sometimes midweek nights) to crisscrossing the nation, scoring seats in everything from grand city theatres to cosy local halls. They watch entire casts adapt to different audience ages, venues, and the inevitable last-minute comedic riffs. It’s a fascinating process, even if it does involve plenty of motorway miles and strong cups of tea.
In an industry often overshadowed by more high-brow forms of performance, pantomime thrives because it’s accessible, immediate, and a true crowd-pleaser. The judges’ job is to sift through the comedic chaos and find that shining brilliance, be it a witty ad-lib that had children squealing with laughter or a seamlessly executed dance routine defying the cramped stage.
The Ceremony
The big night on 13 April at the New Victoria Theatre in Woking promises to be an unforgettable gathering of panto stars, theatre veterans, and fans. While we wait for the official ticket release, there’s already plenty of excitement swirling online—expect Twitter floods of #PantoAwards and plenty of speculation about potential winners. Keep an eye out for announcements regarding the Nigel Ellacott Special Recognition Award and the Outstanding Achievement Award, which are certain to be emotional highlights of the evening.
It’s worth noting that pantomime’s longevity in our cultural landscape is partly due to how each generation makes it their own. Young performers step into roles once tackled by their heroes. Directors reinterpret fairy tales for modern audiences. And families pass on the tradition, bringing new children each season to shout at the stage and squeal with delight. Over time, pantomime becomes more than a casual outing; it’s woven into our collective story.
Join The Celebration
If you’ve never ventured to a pantomime, or if it’s been a while since you sang along with the Dame, now might be the perfect time to reconnect with this joyful theatrical tradition. Take a moment to appreciate the ingenuity behind those lavish costumes, the comedic dedication of every performer, and the breathless hush just before the villain attempts to steal the show—only to have the crowd promptly set them straight.
The PANTOMIME AWARDS 2025 will be a testament to the vibrancy of British theatre’s most interactive genre. Grab your tickets once they’re released, or simply follow the buzz around the nominees. Either way, you’ll witness a celebration of everything pantomime stands for: communal laughter, heartfelt storytelling, and an invitation for everyone, young and old, to step into a world where the most outlandish dreams seem suddenly possible.
Because truly, in pantomime—and in life—you never know what might happen behind the curtain. And that is precisely what keeps us coming back, year after year, for that glorious cry of “He’s behind you!” as we jump to our feet, ready to cheer or hiss with unbridled glee. If you ask me, no other theatrical form captures quite the same unfiltered sense of wonder, and for that, pantomime deserves a hearty round of applause. Here’s to the winners, the nominees, and the next generation of panto stars waiting in the wings to conjure magic before our very eyes.
