What this show does best is establish a tone early and then trust it. From the moment families settle in, it is clear that this is not a Christmas production chasing precision or spectacle, but one that values atmosphere, momentum, and shared experience. Children are alert rather than hushed, adults relax into the room, and the show meets that energy where it is.

This is a variety show in the truest sense. Forms shift constantly, ballet, magic, jazz, acrobatics, but they are held together by an understanding that fun, not flawlessness, is the organising principle. Nutcracker influences surface in coordination and clockwork-like movement, toys in motion rather than formal homage, and they coexist easily with sillier, more physical comedy. An elf appears, does something impressive, disappears again. The response is not rapt silence but quiet giggles and indulgent chuckles, which feels exactly right for the audience in front of it.

Across the show, humour operates less as punchline and more as permission. The magician’s throughline, Christmas wishes gathered via a beach ball drifting through the audience, written down, returned slightly wrong for effect, establishes a running joke built on near-misses rather than grand reveals. Tricks are allowed to wobble just enough to be funny. Anticipation becomes part of the entertainment, particularly for younger viewers who stay engaged not by surprise alone, but by recognition of the gag returning.

Visually, the production favours richness over restraint. Luxe costumes, including the pianist’s red-glitter ensembles, saturated colours, maroon velvet, and strong uplighting create a festive density without tipping into overload. There is a recurring New York Christmas sensibility, echoed later in jazz styling and a Sinatra-flavoured ‘Let It Snow’, but it remains grounded in a local, family-first context. It feels aspirational without being distant.

Performance quality varies, but that variability feels built into the show’s logic rather than working against it. Vocals are sometimes softer than ideal, but they carry lungsful of boldness alongside moments of delicacy. Aerial ribbon and lyra work stands out for its ease and clarity, with strong shapes and smooth transitions; holding those shapes slightly longer could deepen their impact, but the sense of flow remains intact.

What becomes increasingly noticeable is how the audience behaves. Children clap when they feel like it. Energy rises and settles naturally. During ‘Silent Night’, phone lights appear, not as distraction, but as participation, offering children a way to be present rather than restless. Heads rest on shoulders. Concession candy is shared. Parents and children occupy the same emotional space, which is no small feat in a live performance.

By the time snow falls and the final moments arrive, the show has already done its real work. It does not aim for the grandeur of the trick or the perfect finish. Instead, it creates a container where families can pause as work winds down and holidays edge closer. It makes room for togetherness without insisting on sentimentality.

This is not an idealised Christmas. It is the Christmas people are actually having, a little sparkly, a little chaotic, generous at heart, and the show understands that letting fun and atmosphere lead is sometimes the most skillful choice of all.

Copyright © in the review belongs to the reviewer

Okay, so I made the bold choice to bring my ‘Christmas adjacent’ best friend with me to review this touring Christmas extravaganza. By the last song and dance of the night, my friend was dancing in his chair so vigorously I felt obligated to apologize to the woman next to me. To me, that is testament enough to the show we saw last night, however to you, reader, who has never met my best friend… allow me to explain what may well make The Greatest Christmas Show  worthy of its title. 

Dunedin’s Regent Theatre is beautiful even at its quietest, but tonight the audience is full of raging children ready for a show to remember. The theatre is filled with red Santa hats, Christmas shirts, and the occasional antler headband. The stage is lit red and lined with wreaths… everything that sings Christmas. 

Director, Producer and Illusionist Anthony Street (who sadly doesn’t attend the New Zealand tour shows, or at least didn’t appear in the Dunedin show) has settled us in well. Everything has been crafted for enjoyment. 

The lights dim and Santa over the speakers tells us that he is on his way from the North Pole, and he will see us soon – a treat for the children for being good throughout the show. A group of dancers weave their way through the audience, waving as they go.  I hide with my notebook. As an actor myself, I ironically do not handle this social interaction well – but the kids sure love it. 

The curtain rises and we are treated to a beautifully laid out scene. Christmas trees placed across the stage with a grand piano in one corner. Our two main vocalists, Sasha Simic and Catherine Hay welcome us, opening a space that is inviting to all, and the kids feel it. They’re winding up to get about as interactive as I have ever seen an audience get.

Throughout the show we are treated to many well-known Christmas carols, like Deck the halls, to incredible ballads like Silent Night, and a stunning performance by vocalist Catherine Hay of ‘O, holy night’. Music to my ears! Sasha performs solo, a lovely rendition of ‘It’s beginning to look a lot like Christmas’ which has a great response from the audience, some parents holding their children and swaying along to the music. Musician Emily Roughton plays the piano, and at one point (spoiler alert!) whips out an epic rendition of “Carol of the Bells” on the violin while the dancing troupe sway around her with excellent choreography and timing. I’m gobsmacked to say the least. 

Arguably the most impressive feature of this show was the troupe of dancers, the talented Lizzie Lawless, Sophie Vos, Aria Somerville, Maddie McVeigh, and Emily Stewart. They work together to create a flowing and almost seamless array of dances, with very quick costume changes. Commendation to the choreographers Leah Street, Rachael Peters, and assistant choreographer Maddison Tetlow, whose time and effort created an impressive display of dance. Every time these dancers have large candy canes, or sticks in their hands, they swing them in perfect unison and create a display so mesmerizing, I stop taking notes!

Special mention must be made of dancer and aerialist Britney Unmack, who teases us with the ability to steady herself on three poles put into the ground with ease, before showing us her true capability on what I am calling the ‘trapeze rope’ for my aerial performance terminology gets no better than that. She flies through the air, twisting and twirling and at one point even hangs by her feet in mid-air. I cringe and close my eyes. She likely did some more amazing things but her ability to maintain composure while holding on to a rope with only her toes had me sweating from mine. 

Assistant directors Jeremy Evans and Xavier Dannock (who also does the lighting design for this show) and sound designer Connor Hicks work together to create an event that is fun for all. 

Regrettably, the New Zealand tour seems to lose some of the magic that the Australian tour gets. Where Australia has two aerialists, and three leading presenters (an illusionist, and two vocalists), New Zealand audiences see a show where aerialist Britney performs all feats on her own, and vocalist Sasha is thrust into the role of the illusionist as well as his main role, and from what I can see in the trailer, maybe doesn’t compete with the costume changing, fantastic illusionist Anthony Street. Both Britney and Sasha did an excellent job, but why must New Zealand miss out on Anthony the illusionist?

Special mention to audience volunteers as well, for it seems at some points they could make or break the show. Such as Louie, the young boy who was brought up on stage to have coins removed from his elbows by illusionist Sasha, and who so sweetly told us his main profession was playing basketball. But also to Daniel, the gentleman who sat in front of me and was so quickly thrown under the bus by his partner as one of the parents who decided not to attend the show in Christmas attire. Poor Daniel was laughed at by children throughout the theatre. He was left by vocalist Catherine with a string of tinsel around his neck and a partner who is likely to have enjoyed this night perhaps more than her kids. 

In a beautiful conclusion, as Sasha and Catherine sing Have yourself a merry little Christmas, the audience are encouraged to turn on their cell phone torches, making for a lovely moment, and also an opportunity for me to really see the joy in these children’s faces. While the show is so clearly for the children, it’s also enjoyed by the parents, and grandparents, and childless adults alike. We’re reminded throughout the show of the meaning of Christmas, again and again, and this show is a testament to what I believe the true meaning of Christmas is… togetherness. 

We break into All I want for Christmas is you and Britney is back up in the sky again, swinging from a hoola-hoop and it’s now beginning to SNOW on the Regent Theatre stage. Audience members are up dancing, and it’s at this point my best mate has begun to shake the seats with his excitement, and I have stopped taking notes because it’s all just too mesmerising. This is Christmas.  

Everything from the lights to the sound design, to the musicians, dancers and vocalists, to the cheesy jokes and sometimes impressive and mysterious illusions… this show is enjoyed by all. I highly recommend anyone with kids who love Christmas, (and may still love it themselves) to check out this show. It’s a fun night out with impressive feats and ear tingling renditions of your favourite carols. After all, it’s Christmas, right? 

Copyright © in the review belongs to the reviewer