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2 maltatoday | SUNDAY • 30 NOVEMBER 2025 THEATRE LAURA CALLEJA lcalleja@mediatoday.com.mt Playful Christmas rebellion: 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-stand- ing 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, en- ergetic 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 play- ful 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 Rodney Camilleri Gauci, co-produces 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 be- cause it adapts, reacts and constantly re- invents 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 Europe- an and British stage traditions, including 17th-century masques and music hall. Un- til the late 19th century, the harlequinade was an important part of pantomime. To- day, pantomime is performed across the United Kingdom, Ireland and other Eng- lish-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 Mal- ta's first panto Aladdin And His Wonder- ful Lamp in January 1911. Variety is essential For Masquerade, variety is essential. The company alternates between traditional and non-traditional styles to keep the sea- son 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 pro- duction'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 com- ic 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 prac- tically all Masquerade pantos, has gained invaluable experience over the years. He knows exactly what works with audienc- es of all ages and expertly balances clev- er, 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, some- thing 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 chang- es 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 possi- ble because the amount of work that goes into each one is tremendous. But if pa- trons 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 re- write. The MADC panto is, in his words, "the original and the gold standard for the season," and he treats this legacy with re- spect. He keeps the classic elements intact because they anchor the story in the famil- iarity 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 friendli- ness is something Montanaro approaches with a philosophy he describes as naugh- ty but always nice. Satire is part of pan- to'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 innuen- 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 Ali Baba Robin Hood Snow White