High-octane pantomime is contemporary yet packed with nostalgic songs

Dick Whittington
Oxford Playhouse
Wednesday, December 17
Runs to Sunday,
January 4

DICK Whittington, Oxford Playhouse’s festive offering, is anything but a traditional pantomime. From the outset, it is clear that the director’s programme note of “a desire to create something ‘wild’” has been taken seriously. This is a production that pulses with energy, sharp timing and near-constant audience interaction, often feeling closer to a gig than a cosy Christmas panto.

The show leans heavily into immediacy and audience reaction. Simon Cowell, referenced directly within the performance, often talks about judging success by the response in the room; by that metric, Dick Whittington is undoubtedly a hit. The audience on the day I attended, largely made up of school groups, were exuberant, vocal and fully invested. They shouted, laughed, responded on cue and seemed utterly at home in the production’s fast-paced, knowingly irreverent style. For them, this was a clear success.

For me personally, however, the experience felt slightly alienating. At times, I felt like the person who arrives at a party when everyone else is already a bottle of wine in: the jokes are flying, the energy is high, but you’re just a half-step behind the collective rhythm. This is not necessarily a criticism, rather, an observation that this panto prioritises momentum and communal buzz over clarity or narrative comfort.

Musically, the show is a triumph. The Nineties soundtrack is impeccably chosen and brilliantly edited, with slick transitions and infectious drive, supported by a band that is spot on throughout.

That said, the nostalgic song choices had an unintended side effect: my young son, unfamiliar with the references, found himself disconnected from moments clearly designed to delight through recognition.

Performance-wise, there are standout turns. Lucy Frederick’s Dame is dry, sharply observed and costumed to perfection, providing moments of grounded humour amid the chaos. Macy Dermody-Blythe is an exceptional performer, an effortless audience engager, dynamic dancer and magnetic stage presence who consistently drew the eye for all the right reasons. I was amazed by her short CV, she is undoubtedly a star. Their confidence and connection with the audience exemplify what this production does best.

Visually, the set is modern and clever, making excellent use of technology, lighting and sound effects to keep the action fluid and visually stimulating. The costumes are bold and colourful, though at times their design choices felt opaque, much like the confusing love story, which struggled to find emotional clarity amid the production’s relentless pace.

Ultimately, Dick Whittington at Oxford Playhouse is a high-octane, contemporary reinvention of pantomime, loud, playful and unapologetically wild.

It may not be for everyone, but for its intended audience, it delivers exactly what it promises: a joyous, interactive theatrical experience that thrives on noise, movement and collective excitement.

Daisy Smith