For numerous families, the essence of Christmas hinges on attending the pantomime. Yet for some, that magical experience can seem unattainable.

The bustling crowds, loud sound effects, and bright lights can transform what should be an enchanting occasion into an overwhelming one.

For both children and adults who have sensory or learning differences, the traditional theater setting can become more stressful than enjoyable.

In response, venues throughout London and beyond are providing relaxed performances—shows specifically modified to ensure that the magic of theater is accessible to families who might otherwise choose to avoid it.

These performances are tailored for anyone seeking a more gentle theatrical experience, particularly those with autism, ADHD, learning disabilities, sensory sensitivities, anxiety, or other conditions that might complicate adherence to conventional theatre etiquette.

While maintaining the same storyline and charm of a pantomime, these shows incorporate considerate modifications, including softer lighting, reduced sound levels, and minimized abrupt effects.

Audience members are often welcome to come and go as needed, speak or make noises during the show, and retreat to designated areas for a breather.

Heather O’Donnell, the senior technician at Bromley’s Churchill Theatre in south-east London, highlights several approaches they utilize to ensure audience comfort.

“At the beginning of the show, the actors introduce themselves—like, ‘I’m Sam, playing the enchantress. I’m not really a villain; I’m just acting,’” she comments.

“These are the little touches that might seem obvious to some, but others could lose themselves in the performance and feel a genuine sense of danger.”

To accommodate attendees, strobe lights and sudden bursts of light—often employed for special effects—are replaced by gentler transitions, and pyrotechnics are omitted during these performances.

While not every theater in London implements identical modifications for relaxed shows, most adhere to comparable principles.

Lisha and her son Lumen, a 13-year-old non-verbal child with autism, reside in Westminster and are avid fans of relaxed performances throughout the city.

They have previously enjoyed a range of pantomimes at the Lyric Hammersmith, The Nutcracker at Sadler’s Wells, and Christmas carols at the Royal Albert Hall.

“The most beneficial aspect for me is the absence of judgment from fellow audience members—everyone is understanding. All the parents share similar experiences.”

“So when one of the kids calls out or starts clapping and dancing at an inopportune moment, it’s perfectly fine,” she shares.

For Lisha, preparation is key. She explains that detailed “social stories” are typically sent out ahead of the performance, outlining the layout of the venue, actor or staff information, and what to expect during the show.

During relaxed performances, house lights are often dimmed to a lower level, making it easy for people to leave and re-enter as needed.

“My son isn’t aware of social conventions. He doesn’t understand that it’s not acceptable to stand up and move around or leave and come back,” Lisha says.

“Thus, our only way to enjoy these experiences is through the relaxed performances.”

She further notes that for many parents, these events allow them to reclaim festive traditions for their families.

“Activities that perhaps they cherished as children and that brought them joy or put them in a holiday spirit are often out of reach unless they can be enjoyed in a more accessible manner by their kids.”

Su Pollard, famed for her role in the 1980s sitcom Hi-de-Hi!, portrays Mrs. Potty in this year’s rendition of Beauty and the Beast at the Churchill Theatre and strongly supports relaxed performances.

“It’s wonderful because you can observe the audience more clearly. Usually, it’s pitch black, and you can only see the first couple of rows.

“Here, you witness people coming and going, but you try not to let that distract you. Everyone is informed about it beforehand,” she remarks.

Su believes the essence of pantomime remains unchanged: “The timeless battle of good versus evil is the core of any pantomime story.”

“These shows cultivate a space for children to feel included and comfortable, ensuring they engage with the performance without feeling out of place.”

At the New Wimbledon Theatre in south-west London, relaxed performances extend beyond just the stage; the lounge area is transformed into a relaxation zone complete with sensory toys.

Ear defenders are provided at strategic locations, and clear pictorial signs facilitate easy navigation to restrooms, bars, and quiet zones.

Additional staff are positioned at entrances to assist visitors and provide reassurance. For families that prefer planning ahead, the theater organizes familiarization visits, enabling guests to explore the venue prior to the event, thereby alleviating anxiety and creating a sense of predictability and safety.

Magician and comedian Pete Firman, who appears in Wimbledon’s presentation of Robin Hood, notes that the shows offer “a different atmosphere, with everything being more subdued, from the volume to the special effects.”

“Much of my act involves engaging directly with the audience, which is why we typically skip the magic spot in the second half where I would ordinarily invite volunteers on stage—though sometimes we may do it if willing participants pop up,” he explains.

Front-of-house staff also connect with individuals who might come on stage prior to the show to ensure that audience engagement is comfortable and secure.

Behind the scenes, various charities are working diligently to make relaxed performances accessible to families who might otherwise miss these experiences.

One such benefactor is John Lyon’s Charity, which provides free tickets for SEND youth across nine London boroughs, including Camden, Brent, and Kensington and Chelsea.

Anna Hodinott, the director of strategic grants, emphasizes the value of consulting families both before and after performances.

“It is most effective when venues engage families in discussions prior to planning relaxed shows. Co-producing and co-creating experiences are crucial for ensuring inclusivity, as no one individual can cover every necessary detail, especially those lacking firsthand experience.”

However, Ms. Hodinott contends that inclusion must transcend isolated events, advocating for flexibility across all offerings. For her, the key takeaway is the importance of choice.

“What we champion is the need for choice—the ability for parents to select a specific relaxed performance that is accessible for their children while still feeling welcomed at other shows and events.”

“True inclusion would entail creating a flexible environment during all performances, which poses challenges and indicates that we haven’t quite reached that ideal as a society yet. Nonetheless, it is a positive development to see an increase in relaxed performances.”