Entering the stage accompanied by the Backstreet Boys before proceeding to high five anyone within reach and stripping to reveal his rotund belly, Jarred Christmas begins his show with quite the lively punch.
What follows however, is a selection of rather average comedy.
The sporadic nature of Christmas’ style means that there is nothing for the audience to really sink their teeth into. Brimming with energy, the addition of a Michael Jackson dance routine and Shakespearian soliloquy whilst offering amusement to some did appear to create a few more laughs.

Despite this, there are moments of creative brilliance, most notably in his interaction with the audience as his off key comments produce hilarious results. His superfluous confidence allows him to reply to heckles without the slightest care of aggravating or offending the audience regardless of the result.
Innovative material can also be seen in some of his anecdotes, particularly in his recounting of his childhood and the hard time he received for having the name ‘Christmas’, as well as the ridiculing of his home country.
However, as a show it lacks structure. It is a compilation of half thought ideas moving in such rapid succession so as to create a quick fire of predominately mediocre jokes. There is no sense of flow from one joke to the next, instead being a series of unrelated things which Christmas finds funny.
Admittedly though, there was something there for everyone as his huge variety of material from the crude to the imaginative meant that it was at least in parts appealing to all the audience, the glimpses of well thought out comedy making it worth the watch.
It is easy to see why he was awarded a best compere award by Chortle this year as his high energy levels and ability to interact with an audience would be perfect in the short doses required for someone introducing other acts but given a show of his own and he seems to get carried away.
His reluctance to leave the stage illustrates this, as he returns numerous times singing a rendition of Minnie Ripperton’s Lovin’ You, following a rather irrelevant and unrelated moral message to close the show and despite the audience losing interest and filing out the door.