Irish Times writers review Rudolf the Red at The Ark and Ronan Keating at Vicar Street.

Rudolf the Red

The Ark, Dublin

Bernice Harrison

The set gives the first indication that the Ark's Christmas show is going to be an oasis of pure magic in a hectic, overwrought season.

The stage looks like it's covered entirely with a blanket of snow, with icy, snow-capped trees on either side and behind it, the sky is dotted with twinkly stars and a full moon. Onto this quiet landscape bound four of the most endearing reindeer, played with comic precision by Louis Lovett, Clare Barrett, Fiona Condon and Ferghal McElherron.

Everyone knows the story of how Rudolf and his red nose saved the day - the challenge for the writer David Boyd and director Annie Ryan was to find a new way to tell it.

They hit on the deceptively simple device of little teddy (much aaahing from the audience) being nominated by the other toys to find reindeers to pull Santa's sleigh.

From the first minute, the reindeer get the young audience actively involved - a huge part of the charm of the production. Even the adults, most of whom would probably blanche at the very mention of the words "audience participation", are soon enthusiastically splaying their hands on the side of their heads and chanting along at every opportunity. It's that sort of fun show.

Sinead Cuthbert's reindeer costumes are perfect, and the cool, mood-setting lighting by Sinead McKenna does justice to Ferdia Murphy's suberbly simple set.

Probably best suited for children under eight, Rudolf the Red is a captivating, magical hour of theatre.

Ronan Keating

Vicar Street, Dublin

Peter Crawley

Success is like an addiction. At first it may seem under control, but soon enough you'll do anything for a hit. And, after 10 years, Ronan Keating is still hooked on the stuff.

With the Christmas No 1 stitched up by charity-crooners Band Aid 20, this year's No 2 belongs to the former Boyzone stalwart.

In Ireland, the Yusef Islam duet, Father and Son, has just scraped into the Top 20 - the ingrates. Meanwhile, Keating's current album, 10 Years of Hits, boasts a record title that sounds suspiciously like a padded-out CV.

Solo for four years now, tonight Keating is full of praise for Boyzone's six wonderful years, but not so appreciative as to have refrained from re-recording their hits without them.

This seems to be the defining characteristic of Ronan Keating, who prowls the stage with head bowed, at all times deferent and devotional. He updates us on his chart positions ("thank God"), his future career prospects ("please God") and the tremendous work of his cancer charity, The Marie Keating Foundation ("God bless"). Loath to let anybody down, he even tells us how the bookies are paying out on the Christmas No 2, so his brother will get a return on his bet - and besides, all proceeds of his single will go to Band Aid 20 regardless.

There may be a reason that the insufferably nice, blond, blue-eyed, smartly attired pop star keeps your heartstrings clenched in his fist. For no amount of musicians or handclaps will make Turn It On Again, Life is a Rollercoaster, The Long Goodbye, or Keating's covers of Baby Can I Hold You Tonight? and I Hope You Dance rise above a frustrated and insipid mix of country and coffee-house.

The blanket sentiment of these songs - ill-defined love, non-specific happiness, general heartbreak - speaks to everyone and no one.

You may not get much for your decade, perhaps, and for all his aspirations, Keating has always favoured success over music.