A riotous Britpop makeover that proves panto can be both nostalgic and brilliantly new.
The Oxford Playhouse has long been known for delivering lively, crowd-pleasing pantomimes, but this year’s Dick Whittington takes that expectation and spins it in an energising new direction. Rather than relying on the usual grab-bag of chart-toppers from the past twelve months, the creative team opts for an inspired soundtrack of 90s Britpop classics, a decision that instantly sets this production apart from the plethora of pantos I’ve seen before. The result? A show that not only delights younger audiences but gives parents and older theatre-goers a nostalgic reason to join in with the interactive sections, singing along with clear joy.
Director Toby Hulse leads this reinvention with confidence, reworking the story to reflect modern sensibilities without losing the warm heart of traditional panto. One of the most refreshing choices was casting Daisy Ann Fletcher as a female Dick Whittington, affectionately known as Dot, bringing a contemporary energy and relatability to the role. Equally notable was the inspired casting of Lucy Frederick as the Dame, a role almost always played by a man. Frederick’s comedic timing was nothing short of genius. Her playful engagement with the audience, especially one very bemused yet willing participant, produced some of the night’s biggest laughs and anchored the show with a charismatic presence that truly “sold the story.”
Another standout was Robin Hemmings, returning for his third consecutive year at the Oxford Playhouse. His performance as Liam Rattagher was a highlight, leaning fully into the Liam Gallagher persona with pitch-perfect gestures, swagger, and iconic Mancunian attitude. It was a brilliant creative touch that resonated across generations, proving that even the villains can be crowd-pleasers. The clever incorporation of local jokes, from congestion charge references to nods at Gloucester Green Market, further grounded the production in the Oxford community and drew knowing laughs throughout.
Visually, the show bursts with creativity. The costumes are vibrant and characterful, with Liam’s signature parka standing out as both hilarious and weirdly stylish. His entrance on a makeshift motorbike crafted from a VOI scooter was an inspired moment of low-budget brilliance, perfectly in tune with the playful irreverence of panto. The staging also leaned into sensory fun: bubbles, foam, and high-energy choreography filled the space with excitement, and children were especially enthralled.
Before the curtain even rose, the atmosphere was lifted by a spirited mini-performance from Fintan Hayeck, Macy Dermody-Blythe, and Stefanos Petri, who warmed up the audience and got everyone, adults included, on their feet. This early energy carried through the whole show, contributing to the sense of shared joy that makes panto such a uniquely communal experience.
Despite its fresh musical choices and contemporary framing, the production remains rooted in the traditional feel-good heart of pantomime. Its ultimate message, the importance of individuality, shines through clearly and warmly, tying the whole experience together with sincerity.
Dick Whittington at the Oxford Playhouse is a clever, heartfelt, and thoroughly entertaining reimagining of a classic story. With its smart Britpop twist, fantastic performances, and spirit of inclusive fun, it’s a riotous treat for all ages.