’Tis the season for panto

Every December, Malta transforms into a hub of glittering costumes and feel-good family entertainment as panto season takes over. The island has a long-standing tradition of bringing the panto to life, and each company brings its own flavour, structure and sense of mischief to the stage. What makes the local scene so rich is not only the variety of stories but the distinctive artistic philosophies behind them.

This year, pantos offer audiences a mix of classic stories, fresh interpretations and distinct creative styles that range from eastern settings to fairy-tale favourites, energetic musical twists and a contemporary take on Wonderland.

MaltaToday spoke with four of Malta’s leading panto creators and performers, to reveal the passion, discipline and playful rebellion at the heart of the genre. Anthony Bezzina directs and produces Masquerade’s take on Ali Baba. MADC’s Alan Montanaro writes and stars in Snow White. Edward Mercieca brings back FM Theatre’s original Rock and Roll Panto with Robin Hood. And il-Pantomima Maltija's Rodney Camilleri Gauci, writes and plays the Dame in a bold, retelling of Alice in Wonderland in Maltese.

Their approaches differ, but their shared message is clear. Panto remains one of Malta’s most vibrant forms of theatre because it adapts, reacts and constantly reinvents itself while protecting the heart of what audiences love.

Where did the panto come from?

The origins of pantomime go back to ancient Greek theatre. It grew partly from the 16th century Italian commedia dell'arte and partly from other European and British stage traditions, including 17th-century masques and music hall. Until the late 19th century, the harlequinade was an important part of pantomime. Today, pantomime is performed across the United Kingdom, Ireland and other English-speaking countries, especially during the Christmas and New Year season, and features songs, gags, slapstick comedy and dancing. Pantomime arrived in Malta around 1910-1911, introduced by British expatriates, with the MADC staging Malta’s first panto Aladdin And His Wonderful Lamp in January 1911.

Varity is essential

For Masquerade, variety is essential. The company alternates between traditional and non-traditional styles to keep the season fresh. They carefully track what other companies are staging to avoid repetition. This year, the company will be staging Ali Baba, a title that has not appeared on local stages for some time.   

Anthony Bezzina explains that the world of Ali Baba has given his team the chance to build something spectacular. The production’s golden set inspired what he calls the most “lavish set Masquerade has ever created for a pantomime.”

The tale includes a roster of beloved characters, giving the cast a strong comic foundation and allowing designers to indulge in in bold costumes and detailed props that audiences always look forward to.

Balancing humour for all ages is a long-honed skill for Masquerade, and Bezzina credits scriptwriter and Dame Malcolm Galea for that. “Our scriptwriter, Malcolm Galea, who also plays the Dame in practically all Masquerade pantos, has gained invaluable experience over the years. He knows exactly what works with audiences of all ages and expertly balances clever, witty humour for adults with fun and accessible comedy for children,” Bezzina says. He adds that Galea’s writing draws families in from both directions, something he believes is essential to maintain the traditional warmth of panto.

Bezzina explains that the script is not rigid. It evolves from the end of August right up to December, adapting to shifting political events and public conversations. Having the writer as a cast member makes this process easier.

“Having the author as part of the cast is invaluable because we can discuss what’s working and what’s not, then make changes as we go along to keep the pantomime fresh and relevant,” Bezzina says. This flexibility is part of the magic of the form. He adds: “A pantomime must feel alive.”

Masquerade’s production features a live band, led by Kris Spiteri, and a cast whose energy brings every corner of the story to life. Still, Bezzina insists that audiences should support as many pantos as possible because the amount of work that goes into each one is tremendous. But if patrons choose Ali Baba, they can expect an immersive, visually stunning production whose attention to craftsmanship aims to set it apart. Masquerade invites audiences to judge the results for themselves.

Waiting for the right moment

For Alan Montanaro, Snow White is the fairy tale he has been waiting to rewrite. The MADC panto is, in his words, “the original and the gold standard for the season,” and he treats this legacy with respect. He keeps the classic elements intact because they anchor the story in the familiarity audiences crave: A wicked queen, a magic mirror, a poison apple. These landmarks make the world feel right, even when comedic twists arrive to modernise the tone and elevate the show.

Balancing sharp wit with family friendliness is something Montanaro approaches with a philosophy he describes as naughty but always nice. Satire is part of panto’s DNA, so boundaries are nudged, but never pushed with intent to offend. “My rule of thumb is that if I find something funny, the audience will too. It’s a mantra that has served me well in the past. I like to think that any adult humour or innuendo will comfortably sail over the children’s heads and land as intended in the lap of the grown-ups.”

Montanaro admits that political humour is not his favourite, and that he has always preferred timeless comedy and character–driven jokes that do not depend on who is in power. He includes political touches because they are expected, but he keeps them purposeful rather than overdone. “We have had to make some script changes in the past – but that was before I even started writing them myself, so we’re going back a long while,” he says.

Montanaro describes it as a show with something for everyone. Children fall into the fairy-tale world while adults enjoy the layered humour and larger–than–life performances. It is this combination of grounded classic storytelling and contemporary lightness that he believes makes Snow White a standout choice for families searching for a guaranteed good time.

A chef’s touch to panto

Edward Mercieca says he approached Robin Hood with a chef’s touch. He sees the tale as a classic mix of good against evil, seasoned with romance, spiced with two teenage Sliema babes, and given plenty of flavour by the villainous Sheriff, the village bumpkin Bankina and the ever–boisterous Nurse Vaxine Vassallo Vella. This recipe, as he describes it, results in the unmistakable taste of panto fun.

Mercieca says that FM Theatre’s Robin Hood is not just a panto. It’s Malta’s only Rock And Roll Panto, a genre, Mercieca has cultivated through years of playful extermination. Here, the cast are the musicians. Nine performers switch between acting and playing, filling the stage with 20 live rock and roll numbers from the sixties, seventies and beyond. It is a high–energy show designed to thrill not only children but also the adults who grew up with that music. Mercieca affectionately notes that even dads love it.

“It’s a very simple formula really—whatever the gags, anything double entendre must never be understood by the kiddies but easily absorbed by the adults! The kids then love the slapstick, the silly walks, the cartoon noises, the hero and heroine, the defeat of the baddie. The booing and the hissing and the singing along. Robin Hood is a one stop shop for complete family entertainment at its best!” he explains.

As for political satire, Mercieca believes panto is one of the few genres where writers should not pull all their punches. Audiences must be able to laugh at themselves and at public life. He and his team monitor audience reactions from the first performance, adjusting jokes and adding new references if something in the real world sparks an opportunity. “Panto script is alive right up to the last curtain call,” he says.

According to Mercieca, what sets Robin Hood apart is the rock and roll identity that no other panto in Malta offers. It is fast, colourful and packed with live performance energy that sweeps audiences into what Mercieca calls a “tsunami of fun”. For anyone who has never seen a Rock and Roll Panto, this is the year he insists they should not miss it.

Bringing a creative lens to Alice in Wonderland

Rodney Camilleri Gauci’s panto is the single theatrical opportunity he has each year to write, co–produce and embody the Dame, a character he sees as a paradox of extravagance and fragility. He says that this year’s panto in Maltese will be Alice, F’dal-Pajjiż tal-Meravilji.

The Dame is not, he stresses, about cross–dressing or LGBTQ themes. The comedy comes from a large man dressed in lavish costumes who is trying and failing to be a woman. That failure is the joke, the charm and the space where audiences suspend disbelief.

Camilleri Gauci embraces the madness of the role. A Dame can get away with almost anything, though every wig, dress and exaggerated gesture risks becoming a wardrobe malfunction. The character is built slowly over time. With each year, there is more acceptance, more nuance and more clarity about what the Dame means in Maltese panto culture.

Alice in Wonderland gives Camilleri Gauci space for bold adaptation. He explains that panto is multi-layered, and his team is highly self–critical as it builds the story. Their Wonderland mirrors a Malta in crisis, with casinos, gangs and parties that feel both surreal and familiar. It becomes a parallel Malta filled with double meanings, including a double gang in both worlds and a Queen of Hearts ruling over chaos that reflects social tensions. Nostalgia also shapes the satire. Festivals that once felt intimate now seem like heritage sites, while constant parties and memories of past tragedies influence the world they create.

Camilleri Gauci explains that balancing political jokes requires reading the pulse of the people. Audiences instantly detect bad taste or bias. They know when a joke is cheeky rather than cruel. Camilleri Gauci recalls how in 2013, when Malta’s political landscape shifted dramatically, Labour jokes were suddenly off limits. Over the years, as the atmosphere changed, those jokes slowly returned, and when timed correctly, the reactions were explosive. Taste, timing and an honest sense of where the audience stands are key.

The spirit of Maltese panto 

Together, these four pantos highlight the variety and enduring appeal of the genre in Malta. Each production draws on tradition while bringing its own creative approach. Whether through detailed sets, engaging comedy, live music, or thoughtful satire, this year’s shows offer audiences a festive season of entertainment, humour and lively storytelling that captures the spirit of Maltese panto.

Ali Baba will be on from 21 December till 5 January at Teatru Manoel in Valletta. Tickets can be purchased from https://teatrumanoel.mt/event/ali-baba-the-panto/

Snow White will be on from 23 December to 5 January at Teatru Salesjan in Sliema. Tickets can be purchased from https://madcportalui.azurewebsites.net/productions/production/13

Robin Hood will be on from 26 December to 30 December at Teatru Astra in Victoria, Gozo. Tickets can be purchased from https://teatruastra.org.mt/events/2025/robin-hood-and-the-babes-in-the-wood

Alice, f'dal-Pajjiż tal-Meravilji will be on from 26 December to 3 January at the MCC in Valletta. Tickets can be purchased from www.ktrmalta.com. This panto is fully in Maltese