In writing the first professional Jewish pantomime in the UK I wanted to create something that Jewish families could come together and see themselves in. It feels more important than ever to celebrate who British Jews are.
I wanted to reflect their world and people they know, yet at the same time feel transported into a magical “Kosher Kingdom” where even the pig is Yiddish. It has been a joy to write. A chance to mix Jewish jokes with broad interactive theatre. I’ve relished and indulged in thinking about what Jewish nuances I could include.
Not to give too much away, but to give a flavour, there is an anxious wolf who is questioning their identity and considering whether or not to become vegan; the dame, played by the fantastic Debbie Chazen, is obsessed with her daughter meeting a nice local man; and the magical rat-cum-black cab driver, who has lost his “rat-ney carriage” but still has the knowledge.
The distinct Heimish feel of the panto doesn’t stop at the characters. The script is littered with Jewish jokes that people will recognise, including Yiddish phrases and some religious references to boot.
Music was, of course, incredibly important in making the panto. The show will include a three piece band, accordion, drums and, as no Jewish show would be complete without one, a violin! In fact, the lyrics of the music were a writing highlight for me.
We have taken songs made previously famous by Jewish artists and have changed the lyrics and the instrumentation to revive them as, quite frankly, banging klezmer tunes worthy of a panto. For example, we’ve rewritten the hit “You Spin me Round” by Dead or Alive as “You spin me round like a dreidel”, which we think is arguably more catchy than the original. Amy Winehouse’s “Rehab” will be sung by the pantomime’s energy tycoon pig, who gloats, “they tried to make me pay my taxes. I said no, no, no!” A personal favourite is the pig convincing the dame that he is, in fact, a cow and reworking Doja Cat’s hit “Moo” to do so, singing, “In a chulent, getting hotter, look at my hoof, not a trotter”.
All this being said, first and foremost this is a pantomime. I had such a fun time in making sure I stayed true to the form. There are all the usual opportunities for shouting, screaming and jokes for all the family, for every generation, honouring this British form of theatre whose brilliance has survived the test of time.
Pantomime is a time of year to come together, let your hair down (or in my case your dome) and have a moment of catharsis together. This communal gathering transcends ethnicity and religion and it is something we all desperately need right now.
This was an important moment for me, being able to take something as quintessentially British as a panto, and inflect it with Jewishness. Jewish people have been involved in the production of British culture for hundreds of years, shaping it and benefitting it. Yet in many cases, these cultural icons did not explicitly share and bring to the fore their Jewishness.
In the pantomime, I’ve really enjoyed referencing British Jewish stars – in celebration of the diaspora. This pantomime felt like a chance to celebrate being unashamedly Jewish and at the same time, undeniably British. Now, perhaps more than ever, this feels vital: it is who we are as proud British Jews.
Nick Cassenbaum is a writer, theatre-maker and facilitator; Red Riding Hood And The Big Bad Pig is running between 10 December 2023-7 January 2024 at JW3, London.