During a press interview for his upcoming role as the villain Carabosse at the Bristol Hippodrome, Craig Revel Horwood – the veteran judge of Strictly Come Dancing – voiced strong reservations about the recent “woke” overhaul of British pantomimes. The most controversial alteration, he says, is the removal of the iconic kiss that awakens Princess Aurora in Sleeping Beauty a move described by the production team as a response to modern concerns about consent.
According to Horwood, the revised script now shows the Prince and Aurora falling in love earlier in the narrative, thereby ensuring that the climactic kiss is framed as a mutually-agreed moment. “In the original tale the prince simply kisses a sleeping girl and that’s presented as romantic,” the judge observed, “but today that is interpreted as non-consensual, so the story had to be re-written.” He added that while some of the adjustments feel “a little odd,” the
How classic pantomime tropes are being reshaped
Beyond the altered kiss, producers are revisiting other long-standing conventions. Characters traditionally labelled as “ugly” – such as Carabosse’s daughters – are now introduced without pejorative descriptors. Horwood joked, “My two ‘ugly’ daughters are now simply called the sisters, because nobody is ugly and we can’t fat-shame anyone.” Similar revisions have appeared in other productions; for instance, the title of Snow White has been stripped of the subtitle “and the Seven Dwarves” to avoid potentially offensive terminology.
The push for sensitivity has also led to the inclusion of content warnings. The Bristol Hippodrome’s website now advises parents that certain jokes may be “a little loud and cheeky,” and indicates that the show might be unsettling for very young or highly sensitive audience members. A separate incident in Cheltenham saw the Everyman Theatre prepend a trigger warning to its Aladdin pantomime, noting that some jokes could offend and offering a “relaxed” performance option for those who need it.
These changes have not been without controversy. Earlier this year, a production of Mother Goose removed a song that mocked vegans after audience members complained that the lyrics could encourage bullying. The theatre defended the decision, stating that pantomime is a collaborative art form that must respect the diverse perspectives of its viewers. Similarly, an all-white cast version of Aladdin was criticised for a lyric that referenced an “oriental town,” sparking accusations of racial insensitivity.
Revel Horwood remembers an on-air assault
While discussing the current pantomime climate, Horwood also revisited a personal episode that resurfaced during a recent podcast. In 2006, during a live edition of Strictly Come Dancing the husband of eliminated contestant Jan Ravens approached the judging panel, shouted at Horwood, and forcibly pushed him three times before shoving him into the BBC bar. Horwood described the incident as “a physical assault on live television,” emphasizing that the confrontation followed a heated exchange in which he told Ravens, “It’s not my fault you weren’t voted through.” The episode, he said, left the audience stunned and highlighted the intense pressures that can arise behind the glitter of reality TV.
Horwood’s recollection came shortly after he disclosed two other harrowing experiences: a stabbing in Madrid that resulted in a burnt mark on his neck, and a strip-search by French authorities upon his return to Paris. He also recounted a disastrous Kenyan holiday when his booked hotel burned down upon arrival, forcing the tour group to be accommodated elsewhere. These anecdotes, while unrelated to pantomime, illustrate the judge’s willingness to share personal adversity alongside his professional commentary.
Both the pantomime revisions and the on-stage assault reflect a broader cultural shift. As entertainment venues grapple with evolving social expectations, figures like Craig Revel Horwood remain vocal about where the line should be drawn between progressive adaptation and the preservation of beloved theatrical traditions.
