Review of ‘The Magic of Christmas’: “Enchanting seasonal show complies with all Santa’s clauses”

The festive variety show returns to London’s Brick Lane Music Hall for another year, regaling audiences with an array of live songs, comedy skits, and tea with scons. Guillermo Nazara shares his views on the show to let us know if it deserves either jingle or passing bells.

It’s the most wonderful time of the year. That is, as long as you don’t have to deal with family. Or people in general. But even the grinchiest Grinches have a soft spot for good performances sprinkled with a little bit of Christmas sparkle. And if you add succulent sugary treats to accompany the festivity, you may have a few conversion cases.

Presenting The Magic of Christmas. Don’t let the title fool you. Although you’ve probably heard this name in countless TV specials, live experiences, and supermarket deals, I guarantee there’s originality in this one. And if variety pieces are your thing, you may want to put this one at the top of your letter to Santa — or just buy a ticket, we both know you’re not leaving his naughty list any time soon.

It all started with a venue. A venue of misleading nomenclature. The Brick Lane Music Hall, a repurposed Gothic church of outstanding beauty. A sign of the famous E1 London street proudly hangs on its wall. Yet, for some unexplainable reason, the place is located near the City Airport. Regardless of my Google Maps surprise, I can’t say it isn’t worth the trip — and it’s all thanks to the remarkable restoration and theming it has gone through.

Sumptuous chandeliers dangle from its high arched ceilings, while glistening wreaths, colourful ribbons, and shining candy canes roll up the building’s stone pillars. You can feel the warmth of the season the moment you step in. And by the time you get to your table, you’re overtaken by the ambiance’s spirit, filled with ardour and childlike wonder.

Lights dim as a three-piece band (two keyboards and one set of drums) play the opening chords of what, at the very least, promises to be an interesting afternoon. And to be honest, it doesn’t forsake its vow at any moment. It’s extremely enjoyable from start to finish — ticking every box for a compelling variety show, and for the most part, doing so with refreshing competence.

Director Jordan Langford has left his signature imprint on the production, which is defined by impeccable pacing and enduring engagement. Overall, it’s a perfect puzzle assembled through custom-made pieces. Nothing is missing, and nothing should go. Christmas jingles play throughout the entire rendition, ranging from a traditional Michael Bublé music video style to more far-fetched approaches, including a cowboy revamping.

It all works extraordinarily well. Every segment comes across as a blast of pure entertainment and effervescent creativity. It overflows with thought and care. Despite the stage’s limited dimensions, each number has its own set, even if it’s on display for barely half a minute. A ceaseless parade of costumes elevates its intricacy. And goofy gags provide the light-hearted vibe that brings the show’s true charm.

Scott Hayes’s musical arrangements are potent and well-crafted, with a handful of spine-tingling sections to his credit. The vocal harmonies are generally robust and detailed. The same praise goes for Jack Pallister’s resourceful choreography, which brims with high energy and evokes a taste for spectacle without overpowering the space’s intimacy.

The troupe defends all these assets well enough, although a few unpolished elements are still noticeable. Andrew Robley sings his solos adequately, but his minor struggles with vocal ornaments and transitions to higher pitches are nonetheless evident. Former Queen Elisabeth’s violinist, Victoria Yellop, gives a galvanizing rendition that exudes showmanship beyond her undeniable musicality, but a few excerpts could benefit from slightly better phrasing and additional flawlessness in a couple of notes.

Host Vincent Hayes demonstrates his comedic naturalness both as a host and through his stand-up skits. Yet, his dame impersonation wouldn’t suffer if it were cut down to half its current duration. Lastly, the ensemble excels through their technical calibre and inviting rapport, but the male parts are given a tenor register despite their baritone tessitura, inevitably losing strength at some moments.

Besides these minor errors, The Magic of Christmas manages to stand as an exceptional opportunity to delve into the holidays’ verve. Endearing performances, a lively repertoire, and a delicious assortment of afternoon-tea delicacies (exchangeable for lunch or dinner) make it the ultimate plan for a day or night of seasonal delight. Suitable for all ages — even if you are below sixty!

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The Magic of Christmas plays at London’s Brick Lane Music Hall until 19th December. Tickets are available on the following link.

By Guillermo Nazara