THE GREATEST CHRISTMAS SHOW (2025)

The Greatest Christmas Show is New Zealand’s #1 family Christmas event, blending heartwarming moments, spectacular dance, and world-class entertainment into one unforgettable night.

Every December, theatres across the country fill with productions that promise to capture the magic of Christmas. Few, however, manage to balance spectacle, heart, and family-friendly fun as effectively as The Greatest Christmas Show. This production blends soaring vocals, dazzling dance routines, jaw-dropping aerial feats, and a sprinkle of illusion to create an evening that delights children and entertains adults alike.

From the moment the curtain rises, the atmosphere is unmistakably festive. The stage is adorned with Christmas trees, twinkling lights, and a grand piano tucked neatly to one side. It feels like stepping into a living Christmas card. Vocalists Sasha Simic and Catherine Hay step forward to welcome the audience, their contrasting personalities immediately evident. Catherine exudes warmth and elegance, while Sasha brings a playful energy that resonates with children. Together, they set the tone for a night of music, laughter, and seasonal cheer.

The show’s musical program is a carefully curated mix of traditional carols and modern favourites. Familiar tunes like Deck the Halls and Silent Night invite audience participation, while ballads showcase the vocalists’ range. Catherine Hay’s performance of O Holy Night is a standout moment; her voice soaring effortlessly, filling the theatre with emotion. Sasha’s solo of It’s Beginning to Look a Lot Like Christmas draws smiles from parents swaying with their children, a tender reminder of the season’s family focus.

Instrumentalist Emily Roughton adds depth to the musical landscape. Her piano accompaniment is polished, but it’s her surprise violin performance of Carol of the Bells that truly electrifies the room. As she plays, the dancers swirl around her in perfect synchrony, their choreography sharp and dynamic. It’s a moment that fuses music and movement into something greater than the sum of its parts.

The dance troupe (Lizzie Lawless, Sophie Vos, Aria Somerville, Maddie McVeigh, and Emily Stewart) are the backbone of the production. Their energy is infectious, their timing impeccable. Whether twirling canes in unison or executing complex footwork, they bring vibrancy to every scene. Quick costume changes add variety, ensuring each routine feels fresh and distinct. Credit must go to choreographers Leah Street, Rachael Peters, and assistant Maddison Tetlow, whose vision and precision shine through in every number.

If the dancers ground the show, aerialist Britney Unmack lifts it skyward; literally. Her performances are breathtaking, combining strength, balance, and artistry. Early in the show, she demonstrates remarkable control balancing on poles, before transitioning to rope acrobatics that leave the audience gasping. Later, she reappears suspended from a hoop as artificial snow begins to fall on stage. The sight of her twirling gracefully above the dancers while flakes drift down is pure theatrical magic, a moment that encapsulates the wonder of Christmas.

One of the production’s strengths is its ability to involve the audience. Children are encouraged to clap, sing, and even dance along. At one point, the crowd is asked to switch on their phone torches during Have Yourself a Merry Little Christmas, creating a sea of twinkling lights across the theatre. The effect is both visually stunning and emotionally resonant, reinforcing the show’s central theme: togetherness.

Santa’s arrival in the second half is another highlight, greeted with squeals of delight from younger audience members. His presence, combined with illusions and a lolly scramble, ensures that children leave with lasting memories. Adults, meanwhile, appreciate the craftsmanship behind the spectacle; the lighting, sound design, and seamless transitions all contribute to a polished production.

While the show succeeds on many levels, there are areas that could be refined. Sasha Simic, though charismatic and engaging with children, occasionally struggled vocally. His microphone levels were inconsistent, and at times his delivery lacked the passion evident in Catherine’s performances. These moments risked diminishing the impact of certain songs. That said, Sasha’s strength lies in his ability to connect with the audience, particularly younger viewers. His playful energy and crowd interaction are invaluable, and with a touch more vocal focus and technical adjustment, his contributions could match the excellence of his co-host.

Catherine Hay, by contrast, consistently delivered with power and emotion. Her voice carried effortlessly, and her commitment to each performance was evident. Together, the duo offered balance; Catherine providing vocal gravitas, Sasha bringing levity and fun.

The pacing of the second act also felt slightly uneven. While the first half was tightly structured, the latter portion seemed rushed, particularly around Santa’s entrance. Some children grew restless as the show progressed, suggesting that a more streamlined conclusion might enhance the overall flow. Nonetheless, the finale, with Britney soaring above the stage, dancers in full swing, and snow falling, was a triumphant close.

The Greatest Christmas Show succeeds in delivering a festive experience that appeals across generations. Children revel in the music, dancing, and Santa’s magic, while adults appreciate the artistry and production values. The combination of vocal talent, choreographed dance, aerial spectacle, and audience participation creates a rich tapestry of entertainment. Though there are areas for improvement, particularly in balancing vocal performances and refining pacing, the overall effect is joyful, memorable, and deeply rooted in the spirit of Christmas.

This is not just a show; it is an event that celebrates togetherness, wonder, and the simple pleasures of the season. Families seeking a night of festive fun will find it here, and even the most seasoned theatre-goers will leave with a smile. In the end, The Greatest Christmas Show lives up to its name, offering a reminder that Christmas is best experienced not alone, but in shared moments of joy.

The Greatest Christmas Show is being performed at Auckland's Bruce Mason Theatre on 19 Dec - 20 Dec 2025. Tickets can be purchased here

Review written by Alex Moulton

ILLUSIONIST ANTHONY STREET (2025)

Step into a world of wonder with Illusionist Anthony Street, in a thrilling magic show crafted to captivate audiences of all ages! 

Anthony Street, the acclaimed illusionist behind the globally successful Celtic Illusion, returns to New Zealand with his largest tour to date—spanning 22 cities and towns from Northland to Otago. Running from 6 July to 10 August 2025, this ambitious production offers a unique style of magic that leans more toward audience engagement and nostalgic storytelling than high-stakes spectacle. And while his illusions are polished and convincing, it quickly becomes clear that this show is tailored for families—especially those with children who still see the world as a place of everyday magic.

Street opens his show with a simple but thought-provoking question: Are you a believer or a sceptic? This playful challenge sets the tone for the evening. His charm lies not just in his technical skill, but in the way he connects with the crowd—casual, personable, and unpretentious. It’s a style more in line with a street performer than a grand illusionist, despite the show taking place in some of New Zealand’s most prestigious venues, including the grand Kiri Te Kanawa Theatre in Auckland. Even in such a large space, Street maintains the intimacy of a local performance, regularly venturing off the stage and into the audience, engaging directly with individuals while a cameraman follows him, broadcasting the tricks live on screen for everyone to enjoy.

The performance structure is less about fast-paced thrills and more about crafting moments. Street walks the audience through key highlights of his journey as a magician, beginning with the very first trick he ever witnessed. This sets the stage for a gentle progression through card tricks, rope illusions, disappearing acts, and even a reimagined version of a classic David Copperfield routine. It’s a show built on nostalgia and wonder rather than adrenaline and high drama.

Some of the more traditional illusions still feature prominently. His assistants appear to vanish into thin air, a box is collapsed and pierced with swords while someone is inside, and a motorbike inexplicably appears and disappears from view. These moments bring theatrical flair, but Street doesn’t let them overshadow the smaller-scale tricks. For the majority of the show, he’s more interested in engaging the audience up close—with sleight-of-hand tricks, drink-changing containers, and routines involving rings, clothing, and markers. His magic is well-executed, if not entirely groundbreaking, and certainly leans into the joy of performance rather than mystique or darkness.

One of the highlights of the evening is when Street asks the entire audience to join in on a card trick. Hundreds of people follow his instructions, and somehow, almost miraculously, they all end up with the same card. It’s a clever routine that brings the whole theatre into the experience and elicits collective laughter and astonishment. That said, those seated in the upper balconies may find themselves missing out on the more personal moments of interaction. Most of the one-on-one magic happens at ground level, and audience participation is generally drawn from those in the front stalls.

This is an important note: while the show is billed as suitable for all ages, it’s clearly designed with younger audiences in mind. From the magic milk bottle that pours Fanta, Powerade, and red wine, to the colouring book that transforms into Anthony’s actual clothing, the real magic is in the delighted reactions of the children. Tables levitate, drawings come to life, and wide-eyed kids are invited on stage to be part of the performance—jumping, laughing, and even squealing with joy. It's these moments, more than the technical illusions themselves, that give the show its heart.

Street's personality plays a big part in making the performance work. His laid-back, humorous approach draws in even the more sceptical members of the audience. He shares personal stories, jokes with the crowd, and casually reveals the occasional ‘method’—enough to keep the adults intrigued, without spoiling the fun for the kids. There’s a balance in how much he reveals; while you might walk away understanding the broad mechanics behind certain illusions, the precise details and flawless timing remain elusive. It’s this blend of transparency and secrecy that gives the performance its charm.

However, the show does have its limitations. The pacing can feel slow at times, particularly in larger venues where setup and reset times between tricks are more noticeable. There are pauses while props are moved, and extended moments where Street waits for audience volunteers to come forward or return to their seats. Adults looking for a rapid-fire performance or edge-of-your-seat stunts may find themselves wishing for a little more tempo and intensity. It’s not a Vegas-style illusionist spectacle, and it doesn’t pretend to be. Instead, it’s more akin to a community carnival or school holiday magic show—well-crafted, enjoyable, and full of light-hearted entertainment.

That’s not a criticism—it’s about expectations. Street isn’t aiming to shock or terrify; he’s aiming to delight. His show offers plenty of visual interest, clever misdirection, and interactive magic, all wrapped in a tone of warmth and inclusivity. The tricks are polished, the delivery is competent, and the focus is always on making the audience part of the experience. In essence, this is a performance best enjoyed as a family outing. Children will be spellbound, parents will appreciate the nostalgia, and everyone will enjoy the shared experience of seeing magic up close. The most impressive illusion might not be the disappearing motorbike or the impaled sword box, but Street’s ability to make an entire theatre feel like they’re part of something personal.

Anthony Street’s latest illusionist show is not a high-octane thrill ride, but a heartfelt, family-friendly performance full of classic magic and clever engagement. Its slower pacing and interactive style make it an excellent fit for younger audiences and intimate venues. Those seeking intense, adult-focused illusions may feel underwhelmed, but those attending with children will likely walk away grinning. Street is a capable magician, but more importantly, he’s a generous performer—one who knows exactly how to keep the magic alive in a child’s eyes.

Anthony Street's tour continues in the South Island, performing in Nelson (July 28), Westport (July 29), and Ashburton (July 30). You can purchase tickets here

Warnings: Haze and smoke effects, may contain strobe lighting 
Running time: 110 minutes including interval
Ages: Suitable for all ages

Review written by Alex Moulton