If you like classic cover tunes from the 50s to the present day, this is the show for you, and as I entered the Congress Theatre in Eastbourne, I got the feeling that the eager crowd, who appeared to be in an array of sparkles, Santa hats or festive jumpers, were definitely in the mood for a Christmas sing-along.
The show is built on a long-standing formula that covers audience participation and slapstick humour. This show is a crowd-pleasing spectacle that is a hit with the ‘overs’.
Celebrating its 40th anniversary this year, this seasonal spin-off is less about reinvention and more about joyfully perfecting a formula that has kept audiences coming back year after year and fuses a tried and tested spectrum of hits from the 50s, 60s and 70s – with a couple of modern ditties for good measure.
Part of the long-running ‘That’ll Be The Day’ family, this festive spin-off feels less like a touring show and more like a seasonal ritual, and it is clear that the Eastbourne audience knows it well – and loves it for that very reason. From the moment Trevor Payne appears, greeting the crowd like an old friend, there’s a sense of familiarity, as my row of new friends nod knowingly in anticipation of what is about to come.
Although I’ll happily admit I usually lean towards panto at Christmas, my friend and I were quickly swept up in the atmosphere. As the lights dimmed and the band took their places on the blacked-out stage, the opening crash of drums signalled the first festive anthem – and with it, a wave of shoulder-shuffling, seat-dancing enthusiasm from our elders all around us. Resistance was futile, and soon we were seat-dancing with the best of them!
Fronted by director, producer and performer Payne, who has been at the helm of the show for 40 years, his role as compere and Cliff Richard lookie-likey is something he was born to do, Along with his band, consisting of Gary Anderson, Ollie Gray, Nikki Renee Hechavarria, Lotty Anderson, Mark Street, Jarrod Loughlin, Seán McAusland, Jodie Lawson and Eduardo Neto on percussion, the set is seamless and it is obvious they have done this many times before and know their places inside out.
Musically, the show moves through decades of rock ’n’ roll and pop with festive flair, blending Christmas favourites with classic hits in a way that feels both celebratory and sentimental. There’s something deeply Christmassy about recognising a song from the opening bars and feeling the room collectively light up with swaying arms (perhaps that was just me and Emma) and communal finger clicks. The audience is encouraged to join in, which provides a lovely sense of communal joy that feels entirely in keeping with the season.
The musicianship underpins everything. Ollie Gray’s easy shifts between guitar, drums and vocals keep the energy fizzing, while Mark Street’s drumming drives the show forward with the momentum of a sleigh on fresh snow. Jarrod Loughlin and Seán McAusland layer bass, keys and guitar to create a full, rich sound, and Eduardo Neto’s percussion adds warmth and texture that feels particularly festive. Meanwhile, the vocalists bring some hard-hitting and very impressive solos, along with harmonies and some rather fabulous sequinned frocks.
Comedy sketches add a touch of pantomime and are interspersed throughout as a change of pace. Broad, nostalgic and pitched squarely at the audience in front of them, the humour leans on affectionate parodies of classics such as One Foot in the Grave, Steptoe and Son and Laurel and Hardy. Some gags may feel well-worn after 40 years, but the timing is sharp and the delivery inclusive, prompting plenty of chuckles and knowing nods.
Costume changes for all performers add to the sense of glamour, and transitions are slick, keeping the momentum flowing and ensuring the evening never drags, which all contributes to that uniquely Christmassy theatre feeling, where you are cocooned and unified in time and space.
By the time the final numbers arrive, the atmosphere feels less like a formal performance and more like a shared celebration. The players are familiar, and even though they have taken on the role of countless crooning greats, you can see them as themselves and recognise how talented they are.
Leaving the theatre, we stepped out into the wintry night, humming the show tunes, smiling at strangers, and feeling just a little more festive than before.
That’ll Be Christmas! understands exactly why seasonal theatre matters. It brings people together and invites participation as a novelty. As a festive outing, it is wholesome and gloriously uplifting – a Christmas tradition that sits happily alongside tinsel, mince pies and the annual panto, and it’s no wonder that it keeps visitors coming back every year.
Verdict: A festive crowd-pleaser packed with familiar hits, generous cheer and enough costume changes to rival a Beyoncé gig. Comfortable, nostalgic and unapologetically joyful – the theatrical equivalent of pulling on a favourite pair of old socks and pouring a glass of something festive.
For 2026 tour dates that encompass the non-Christmas songs, check online.
