London Palladium 2024 Pantomime Breaks Box-Office Records

If you spent any time around The London Palladium this winter, you probably noticed the huge buzz around its annual pantomime, ROBIN HOOD. This flamboyant, star-studded show hasn’t just struck gold—it’s smashed attendance records, welcomed its millionth guest, and cemented the Palladium Pantomime as a highlight of the West End season. Now, to the delight of panto lovers everywhere, producer Michael Harrison has confirmed that this cherished tradition will return for a special tenth-anniversary production in 2025. Though details on dates and titles remain under wraps, one thing’s certain: if the success of ROBIN HOOD is any indication, next year’s pantomime is already shaping up to be a must-see.

A RECORD-BREAKING ROBIN HOOD

ROBIN HOOD has left a serious mark on the West End, racking up unprecedented daily, weekly, and season-wide ticket sales. Since the panto’s triumphant return to The London Palladium back in 2016, these productions have welcomed over a million audience members—an impressive feat that speaks to pantomime’s enduring appeal. For anyone who still wonders why panto is such an essential part of British culture, you need only witness the sheer joy that unfolds when families, couples, and theatre enthusiasts of all ages gather for an evening of songs, silliness, and unexpected celebrity cameos. Indeed, the final performance of ROBIN HOOD left theatregoers cheering in the aisles, a fitting end to one of the most successful pantos The Palladium has ever staged.

What’s more, ROBIN HOOD garnered rave reviews from critics, with WhatsOnStage describing it as “another bullseye.” Coupled with sold-out performances and social media chatter brimming with glowing praise, the numbers prove that the show was the undisputed panto champion of the season. According to the production team, more than 132,000 people attended the run—enough to fill The Palladium several times over.

STARS IN SHERWOOD FOREST

A large chunk of ROBIN HOOD’s charm came from its eclectic cast. At the heart of it all were Jane McDonald and Julian Clary, commanding the stage with their signature blend of show-stopping vocals and quick-witted banter. McDonald’s effervescent presence brought fresh energy to the production, and her chemistry with the ever-hilarious Clary had audiences in stitches. The pair was surrounded by a cast of familiar faces, each taking on a beloved role from the legendary English folktale.

Paul Zerdin returned as Will Scarlet, delivering comedic ventriloquism interludes that kept the energy high, while Nigel Havers appeared as Friar Tuck, bringing his trademark charisma to the stage. Charlie Stemp stepped into the shoes of Alan-A-Dale, and Rob Madge gave an unforgettable performance as The Spirit of Sherwood, infusing the show with youthful charm and impeccable comic timing. Making their panto debuts were Marisha Wallace as the Sheriff of Nottingham and Tosh Wanogho-Maud as Little John, further elevating the calibre of vocal and acting talent on display.

In a stroke of pantomime genius, each performance also featured a surprise King Richard, played by a rotating roster of celebrity guests. From Ian McKellen to Dawn French, from Lee Mack to Jennifer Saunders, the King Richard cameo became a nightly guessing game for theatregoers. These guest appearances not only kept things fresh for repeat visitors but also helped raise funds for a number of charities, including The Orchid Project, You Me Bum Bum Train, and The Melissa Bell Foundation. In fact, the production’s generosity extended well beyond the stage, with donations made on behalf of each guest star—a fitting tribute to pantomime’s ethos of community and goodwill.

WHY HASN’T PANTO CAUGHT ON IN AUSTRALIA

Despite pantomime’s enormous popularity in the UK—particularly around Christmas and New Year—one might wonder why this genre hasn’t made a bigger splash in other English-speaking countries, such as Australia. After all, the classic ingredients are the same: flamboyant costumes, family-friendly comedy, music, audience participation, and a healthy dose of slapstick. Yet, by and large, panto remains a uniquely British phenomenon.

One factor could be historical tradition: British pantomime as we know it developed from a fusion of commedia dell’arte, music hall, and variety-show influences. Over centuries, it has become closely intertwined with British festive traditions, especially during the holiday season. Australia, on the other hand, while sharing many cultural links with the UK, has its own distinct theatrical history that leans more toward vaudeville and large-scale summer musical productions. When Christmas rolls around Down Under, the sunny weather and beachy lifestyle can overshadow the idea of a cosy winter pantomime.

Another consideration is that pantomime’s humour often relies on local references and regional jokes—think in-jokes about British politics, soap operas, or public figures. This specificity might not translate as seamlessly to Australian audiences, who have their own comedic icons and cultural references. Although some British panto stars have tried to export the tradition, the seasonal timing (pantomimes typically run in December and January, which is the height of summer in Australia) means the synergy just doesn’t hit the same notes. Essentially, while a handful of panto-like productions exist in Australia, they haven’t reached the entrenched, near-sacred holiday status that they enjoy in the UK.

BRINGING TOGETHER THE OLD AND THE NEW

The London Palladium panto has become particularly adept at blending fresh, topical humour with traditional pantomime elements. Audiences can count on a barrage of cheeky banter, contemporary pop references, and, of course, “he’s behind you!” moments. Meanwhile, time-honoured panto archetypes remain in place: the Dame (typically a male actor in over-the-top dresses), the Principal Boy (though less common nowadays, it still appears from time to time), and a rich array of comedic sidekicks. ROBIN HOOD stayed true to these roots, yet also managed to infuse each performance with a modern twist—such as a cameo from a surprise A-lister or a viral dance routine that had the audience roaring.

And it’s not just audiences that benefit from this creative approach. The star-studded cast clearly had a ball on stage, improvising lines, breaking the fourth wall, and occasionally poking fun at themselves. Pantomime, more than most theatre genres, thrives on spontaneity. When a show can riff on topical news or banter with an audience member wearing an eye-catching jumper, it transcends the static script to become a one-of-a-kind experience each night.

Pantomime’s sense of community goes beyond the theatre’s walls. In the case of ROBIN HOOD, nightly cameo guest stars helped raise awareness and funds for various charitable organisations. Michael Harrison was quick to point out that these philanthropic gestures are part of the production’s DNA, stating:

I am also delighted we have been able to make donations to many charities chosen by the King Richards.

Indeed, pantomime has a long-standing tradition of giving back—a spirit captured by the roars of approval when families bring children to experience live theatre for the first time, or when a local hero is brought on stage for a cameo. This interplay between audience, cast, and community is what makes pantomime so special, ensuring that each production feels less like a routine performance and more like a festive celebration among friends.

LOOKING AHEAD TO THE 2025 RETURN

With ROBIN HOOD now taking a final curtain call, all eyes are on the 2025 Palladium Pantomime. The tenth anniversary of the annual production is a milestone worth celebrating. Over the years, the Palladium has played host to a variety of magical stories—think CINDERELLA, JACK AND THE BEANSTALK, or SNOW WHITE—each given a signature twist by a combination of show-stopping sets, high-calibre performers, and a script that balances nostalgia with innovation.

While Michael Harrison has kept a tight lid on the exact details, the announcement has already sparked online speculation. Will we see the return of panto stalwarts like Julian Clary and Paul Zerdin? Could there be an unexpected cameo from a global superstar? Will the storyline remain a traditional fairy tale, or could the producers throw in a fresh take on a classic? One thing’s for sure: if the new production follows in the footsteps of ROBIN HOOD, audiences can expect high production values, a raft of top-tier talent, and plenty of family-friendly shenanigans.

Beyond The Palladium, the West End’s pantomime scene has witnessed a surge in popularity in recent years. While many Brits fondly recall their first panto in a local theatre, the West End pantomimes have stepped up their game with larger budgets, starry casts, and elaborate special effects. ROBIN HOOD is a prime example of this trend, drawing audiences with big names and delivering a polished show that still retains the homespun warmth that panto is famous for.

Whether it’s the dazzling costumes, the high-tech stage illusions, or the playful banter that resonates most, modern pantomime has proven adaptable and relevant. At a time when audiences crave a boost of light-hearted entertainment—especially during the darker winter months—panto fills the gap, reminding us why live theatre still holds a special place in British culture.

The phenomenally successful run of ROBIN HOOD at The London Palladium demonstrates that pantomime isn’t just child’s play—it’s a multi-generational event that brings people together for an evening of unfiltered fun. Yes, it features larger-than-life characters, rousing choruses, and jokes that sometimes verge on the absurd. But that’s precisely the point: pantomime is an invitation to forget the outside world for a moment and immerse yourself in a world of laughter, song, and surprising cameos.

As the production closes its doors for the year, fans can already look forward to 2025’s tenth anniversary extravaganza. For dedicated theatregoers and newcomers alike, the message is loud and clear: you won’t want to miss what The Palladium Pantomime has in store. And who knows? Perhaps one day, Australia might adopt the panto spirit on a grander scale, too. Until then, the West End remains the reigning champion of pantomime—and it looks set to continue breaking records, giving us even more reasons to shout, “He’s behind you!” into the theatre rafters. After all, in a world that often feels too serious by half, a good panto is just the ticket to keep the festive magic alive.