Pantomime was one British tradition I had sussed, writes American Amanda Castleman.

The out-dated comedian prancing in petticoats and rouge, the fairy tale contaminated by pop culture, the merry little sing-along. Basically it's a lot of sugar-frenzied tots screaming "Oh no it isn't!" at cartoonish characters.

And, of course, the dirty jokes - not just the giggly bathroom humour found on playgrounds everywhere, but crude, raw puns. The formula was simple and fun.

The Theatre Chipping Norton likes to upset the placid world of panto, however. The genre is the company's speciality, with a fresh script, musical score, sets and costumes devised annually. They don't mess about. The Theatre is bold and cheeky and experimental to the point of tampering with tradition. Specifically, it has skipped the blue jokes and gone straight for sex appeal. As its 25th pantomime, the company will present a saucy Cinderella from December 2 to January 15.

Exotic and erotic - but not obscene - the version is set in 19th-century Spain. The Theatre's director Tamara Malcolm hastens to explain that the script is not too Puritan: "Children love smut and any mention of bums is terrific. But innuendo excludes them and doesn't advance the story." Telly references have also been chucked out the window, though the Theatre permits a small amount of political satire. But who will notice with all the passion exploding on stage?

"We have chosen to set our Cinderella in the Spain of the early nineteenth century when frocks were exquisitely feminine, men squeezed into matador-like suits and the music was hot and sensual," Tamara says. "We've added a spicy element. It's very romantic."

Indeed, Prince Charming (now Prince El Charmante del Tierra del Fuego del Costa Brava Delmonte) even serenades his love on guitar. And his elaborate costume was designed by Tina Bicat so he could tango with ease. "We hope he'll look formal, but sexy," she says. The servant, El Stupido, doesn't get quite the same treatment. He lurches under a magenta sombrero, providing comic relief from all the smouldering glances and heaving bosoms.

The fairy godmother is now a mysterious gypsy woman and the evil stepmother, The Contessa, pampers ugly sisters Primadonna and Belladonna. Even Cinders (the elfin Lindsay Allen) has a make-over and become "quite a spiky character," according to Tamara.

Her silver eyelids flutter as she describes the "divine" costumes and lively spark of the Spanish production. "In mid-winter we all need a dose of sunshine," she exclaims. "Spanish culture is popular, even lager louts experience it in Ibiza. Its exuberance and flamencos are very mainstream.

"The jokes and satire will appeal across cultural boundaries." Tamara knows what she's talking about. The director travels to other continents, lecturing on pantomime. When it comes to slapstick comedy and transformation spectaculars, she's an expert.

Knowing the tradition so well, she chooses to break with it. "We don't rely on celebrity turns," she says. "The script-writing and direction must make it funny.

"We are an ensemble company, there are no stars." In fact, the actors this year are also musicians - wielding guitars, accordions and violins - and accomplished dancers.

"In English panto, there are traditionally eight actors - but nine roles. The ninth performer is the audience, who have a part to play and know it. We give them a new script every year, not just the same tired three lines. That's exceedingly boring. With only 200 seats in the theatre, we treat it like a cabaret and play tremendous games with the audience." Director John Abulafia has also cast a man (Leigh Jones) as 'principal boy', another break with routine. Tamara scoffs. "The cross-dressing evolved so men could see the ladies' ankles - back when that was a daring and exciting thing.

"It's not necessary in the days of topless bathing ... you can get your kicks on the Internet."

Finally, the Theatre has put unusual effort into their transformation scene. "These are very expensive and a lot of companies shy away, don't do them properly. "Sometimes the big touring productions have been around for 15 years, looking shabbier and shabbier." Tamara complains.

The Theatre promises a spectacular twist, in addition to shiny new everything. Nothing is second-hand in Chipping Norton. The jokes are fresh and the paint is still drying on the sets. Les Miller contributed the script and Jeremy Harrison the "hot and sensual" music.

"This," Tamara announces, her silver-hooded eyes widening, "is why we're called the best panto in England. "This is a wonderful opportunity to get kids sold on live theatre. Think about it: there's not a single citizen in the UK that hasn't seen a panto, right across racial lines.

"That's a phenomenal thing to say about 52 million people."

Performances run from December 2 to January 15 and tickets range from £7.75 to £14.75 with concessions available. Contact the Box Office on 01608 642350.

Story date: Wednesday 24 November

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