Christmas Actually

There are Christmas shows that sprinkle a bit of glitter, and then there is Christmas Actually, which turns the entire theatre into a full-blown festive detonation of music, comedy and nostalgia. Now in its eighth year, this seasonal juggernaut from The Little Red Company once again proves why it has become a staple of the Australian silly season. It is smart, stylish, musically electric and delivered with such unabashed joy that even the iciest Scrooge would melt into a puddle of mulled-wine-scented goodwill.

Created by Adam Brunes and Naomi Price, the production remains a masterclass in how to reinterpret a beloved film through a lens of theatrical precision and cabaret playfulness. It is, at its heart, both a love letter to Love Actually and a showcase for what Brisbane's creative community does best: collaboration executed at an elite level.

As always, Naomi Price leads the charge with her signature blend of immaculate vocals, magnetic presence and comic wickedness. Price does not just command the stage. She makes it feel as though the entire room is in on the joke with her. Whether launching into her opening Billy Mack inspired faux-meltdown or dancing through the show's most riotous moments, she is effortlessly charismatic. Price is that rare performer for whom "triple threat" feels wildly insufficient. She is, at minimum, a sextuple threat, balancing vocal finesse, emotional intelligence, physical comedy, dance agility, acting skills, improvisation, and the kind of generous showmanship that elevates everyone around her.

Her fellow vocalists shine on their own terms. Luke Kennedy delivers the burnished powerhouse sound he is known for, bringing classical precision and musical theatre polish to even the poppiest material. His emotional clarity gives weight to songs that could otherwise veer into cliché, while his commitment to the corny nature of other tunes helps you feel you’re enjoying a private joke with him. Irena Lysiuk’s warm, pliant tone and nuanced delivery offer some of the production's most introspective moments. She has a gift for letting a song bloom gently, drawing the audience closer with small, carefully held emotional details before letting the powerful side loose. Tom Oliver, ever the musical chameleon, moves effortlessly between soulful croon and high energy musical mischief. His rendition of White Christmas, complete with slinky, tongue in cheek choreography, is a bona fide showstopper. Oliver's ability to glide between sincerity and silliness is a delight to behold.

The musicians behind the vocalists deserve equal celebration. Under the musical direction of a team that understands both craft and cabaret, the band executes with a clarity and personality rarely achieved in festive revues. Mik Easterman on drums is an absolute force, especially in the Sugababes number Too Lost in You, where his dynamic phrasing and sensitivity elevate the arrangement beyond mere homage. On bass, AJ Hall provides a warm, steady heartbeat. A musician whose feel-good groove anchors the show through its stylistic shifts. Damian Sim on keys draws some of the biggest emotional responses of the night, particularly in his delicate and aching treatment of Craig Armstrong's Total Agony. His touch is refined, intelligent and deeply musical. Hemi Time's guitar work is another standout. Confident, dexterous and stylistically fluid, whether delivering crowd-thrilling solos or weaving rhythmic lines into the ensemble texture. His versatility is a key ingredient in the show's musical success.

The technical team contributes enormously to the experience. Sam Gibb's lighting design is a delight, shifting effortlessly between festive brightness, cinematic melancholy and full-blown disco fantasia. Each change serves the emotional arc of the song without overwhelming it. This is design that supports storytelling rather than competing with it. Geoff McGahan's sound design is impeccable. With a show this musically dense, clarity can be difficult to achieve, yet every lyric, harmony and instrumental colour comes through with precision. It is some of the most seamless sound engineering you will hear in a cabaret concert hybrid.

Christmas Actually is not simply sparkles and polish, this is a show with a heartfelt sense of generosity. It welcomes audiences into a space where nostalgia is celebrated rather than exploited, where the emotional sincerity of Both Sides Now can coexist with the joyful chaos of nativity lobsters, and where the finale, All I Want for Christmas Is You, turns the entire theatre into a dancing choir of strangers who suddenly feel like friends. This is a show built by seasoned artists at the top of their game. Performers who understand that craft and joy can coexist, and a creative team who know how to transform a cultural touchstone into a living, breathing night of theatre.

Christmas Actually is not just a tribute show. It is a beautifully engineered piece of festive theatre packed with humour, heart and technical prowess. Brisbane Powerhouse is absolutely the right home for it. A venue that mirrors the show's character. Warm, eclectic and full of creative spark.

If Christmas has started to feel a little too familiar or a little too frantic, this production is the perfect reset. It is uplifting without being saccharine, clever without being smug and heartfelt without tipping into sentimentality. As always, The Little Red Company delivers the goods in dazzling style.

Kitty Goodall