The line goes, “Oh, yes it is!” The response is swift and loud, “Oh, no, it’s not!” Another line is called out, “He’s right behind you!” If these exchanges are music to your ears or you are intrigued to find out more, read on!
Audiences of all ages are in for a huge dose of fun if they head to Kensington, Maryland, for this year’s pantomime production at The British Players, Robin Hood and the Babes in the Wood. Broad humor, sight gags, audience participation, and of course (mild) double entendres abound in this long-held, seasonal tradition on the English stage.
For the uninitiated, in this context, pantomime should not conjure up Marcel Marceau or a street performer pulling an invisible rope to the annoyance of passersby. Think a hybrid of fairy tale, Monty Python, children’s theater, and a dash of music hall — all calculated to entertain anyone from age 8 to 80. The British Players, producing traditional UK-style theater since 1964, has made a tradition of presenting pantomime, or panto to the fans, for many years.
For their current production, we are transported to Sherwood Forest in the time of Prince John running England while his brother King Richard is out of the country. If this sounds familiar, it’s because it is the setting for most versions of the Robin Hood story, and that’s where we are. Once again, Robin steals from the rich and defends and supports the peasants who are oppressed and taken advantage of by the evil John and his consort, here called Queen Arachnid. They are aided and abetted, as usual, by their enforcer, the Sheriff of Nottingham.
As the title implies, children are introduced to the story in the form of Rosie and Jim, King Richard’s children, who have been left under the care of their uncle John. He, of course, sees them as obstacles to his taking the crown for himself, so you can imagine what might happen next, which only fuels Robin Hood’s mission to thwart John and the Sheriff at every turn.
With the bones of a typical Robin Hood plot, the panto-fication of the tale can now be complete, starting with the role of Robin being taken by Priscilla Howell, in the tradition of the principal boy, the hero played by a young woman. Howell, in this pants role, has the charm, heroic poses, and stage presence to carry the show along. There were several times when Howell’s delivery and reactions reminded this reviewer of the late great Patricia Routledge (UK stage and screen star, famous as Hyacinth Bucket in the sit-com Keeping Up Appearances).
A panto is not a panto without the hilarious, naughty, and endearing dame, the leading comedic role played by a guy as a benevolent female role. Nurse Nora, nanny to the royal babes and ally to Robin Hood, is big, boisterous, and bumbling, and wins the audience’s heart and funny bone. Nurse Nora, “Nursie,” is putty in the hands of Chuck Hoag, with the silhouette of Jackie Gleason and the comic timing of a burlesque comedian. Delivering many of the show’s wink-wink-nudge-nudge lines, Hoag seems to ad lib (effortlessly) several times with asides to the audience: “I just deliver these lines, I didn’t write ’em.” He also has a fabulous singing voice, showcased during several of the interpolated musical numbers, such as “I’d Do Anything” (from Oliver!).
Musical numbers scattered about the script are de rigueur for pantomime, a mixture of Broadway songs, oldies, and pop hits, often with altered lyrics to connect them directly to the story onstage. Highlights include “At the Panto,” the lively opening number to the tune of the Village People’s “In the Navy”; school children who ditch school rocking out to Pink Floyd’s “Another Brick in the Wall”; and fabulously colorful ensemble rendition of “Pink Pony Club” by Chappell Roan, complete with a human carousel and a life-sized horse prop.
There is truly something for everyone in this production. Also listen for interpolated local references, another characteristic of panto.
The musical numbers and comedy scenes are handled with energy and verve by the entire cast, led by Hoag and Howell as Nursie and Robin. Among the other gems in the cast, Niranjali Amerasing plays another pants role as Hayrick, the school janitor and spy for Robin. Amerasinghe gets some prime comedic moments, handling them with panache, and possesses a soaring legitimate voice she gets to show off with an operatic duet with Hoag. Hollie Dickman is the lovely and whimsical Maid Marian, Robin’s main squeeze, who gets a turn as a ’60s pop diva singing “In His Kiss.” The title babes, Jim and Rosie, are handled by two remarkable young actors. Aidan Swank and Allison Ceballos, respectively. These teens keep up with the adult cast members note for note and bit by bit. As Nursie’s hyperactive and pesky pooch Tyson the Dog, Amanda D. Jones provides additional comic relief throughout the show.
As much as the audience is encouraged to cheer for the hero and good characters, a panto is not complete without the boos for the baddies, and this show does not disappoint. Each one over-the-top, in the best possible way, the villains of Robin Hood and the Babes in the Woods are masterful comedic performers — chewing the scenery, shooting dirty looks and insults to the patrons, and sniveling and snarling in every scene. Bob Schwartz is the odious and greedy Sheriff of Nottingham, usually shadowed by Lisa Singleton as sidekick Pokem. These two make for a hilarious duo, feeding off of not only each other but the audience’s hisses and boos. The cowardly and pompous King John is portrayed with zesty relish by Jonathan Kilgore, matched completely by his vampiric-looking consort, Queen Arachnid, taken on with vitriol by Rachel Schlaff. Lending excellent support and a bumbling pair of henchmen, Chloe McGinness and Richard Jacobson have a field day as Bashem and Thumpem. All the scenes where the villains come on or are bested by Robin and the Merry Men are met with the requisite cheers and jeers.
All of the adventure, comedy, and spectacle is backed up by the small but mighty instrumental ensemble under the direction of Ian Swank, and keyboards by Susan Mason McElroy. From the pop hits to the Broadway tunes, the band is sharp and provides the right musical flavor for every occasion.
The chaotic fun and frolicsome story is orchestrated by director Nicola Hoag, who clearly understood her assignment, providing an open ticket for her comic actors to take the stage, pull in the audience, and charm the entire assembly so that by the finale, everyone can leave the show with a huge grin on their face.
Running time: Two hours and 30 minutes with one 15-minute intermission.
Robin Hood and the Babes in the Wood plays through January 10, 2026, presented by The British Players performing at Kensington Town Hall, 3710 Mitchell St, Kensington, MD. Performances are Fridays at 8 PM, Saturdays and Sundays at 2 PM, and selected Saturday evenings at 7:30 PM. Adult tickets are $28, children (under 12), $15, with group discounts available. Purchase tickets online.
Robin Hood and the Babes in the Woods
Directed by Nicola Hoag
Produced by Lauren Pacuit & Clare Palace
Assistant-Directed by Lauren Pacuit
