Is there any hero more English than Robin Hood?
Like a Bear Grylls of yesteryear, the story of Nottingham's public enemy number one has echoed through history, providing a handy fallback name for unimaginative publicans over the centuries.
This year's panto offering at the Oldham Coliseum injects plenty of festive vim into the evergreen legend of fiscal redistribution.
This being Oldham, it's not your Middle English tale of yeoman rebellion or rope-swinging Holywood epic. Expect lots of jokes about Rochdale and a character called Failsworth.
The script, co-written by director Chris Lawson and former dame Fine Time Fontayne, contains a smattering of bawdy humour, breezing over the heads of all but the most firewall-savvy youngsters.
Most of the cast are panto pros - and the performances are superb.
Both Liz Carney as the Sheriff and Ian Crowe's Sir Guy of Gisbourne ooze camp villainy; while dame Charlie Ryan and Nathan Morris provide quick-timed comic relief.
The one or two tiny slips - inevitable when you are running eight or more shows a week - are managed smoothly. The rapport with the audience is never lost.
My only comment would be that the first half runs too long for kids unfamiliar with long bouts of sitting down (with a run time from 7.30 to nearly 10pm, including interval, you certainly get your money's worth!).
For those who enjoy the traditional panto experience, the show doesn't disappoint. Like sacred relics, every convention - from the handful of sweets thrown like confetti to the brilliantly-realised 'it's behind you' - are reverentially rolled out.
The costumes and hand painted backdrops are sumptuous. From script to sequins, it's clear lots of pride goes into making the town’s annual panto the best it possibly cou be.
Song and dance performances are at the heart of the show. A range of pop hits that I am too old to recognise (but am reliably informed are 'recent') are belted out, with Shorelle Hepkin's Robin Hood and Sarah Pearson's Maid Marion showcasing vocal range and impresario Dave Bintley providing seamless keyboard treatment.
Credit must also to the teams of young performers and actors who clearly worked long and hard to deliver complex choreography.
All in all, I can confidently say it's a show that's worth your money.
But on the subject of money, it’s sad to read that the Oldham Coliseum is facing an uncertain future. Like many theatres, it has long depended on a chunk of Arts Council funding to keep the lights on and tickets reasonably-priced.
More than anything pantos are about local colour and identity. The packed crowd on Saturday night's performance contained a cross section of local families from Oldham and beyond.
I'm forced to reflect that theatres are one of the few remaining cultural spaces which regularly allow communities to come together and, while not free, remain fairly accessible.
Could the story of someone plotting to overthrow an under fire government - a hero who robs from the rich, to give to the poor - be relevant for our time?
