Every December, New York City overflows with holiday entertainment, from intimate cabaret shows to the full-scale spectacle of Radio City. Having seen more than my share—some mawkish, some magical—one of the most consistently enjoyable is also one of the most unlikely: Russell Moss’s A Night of Christmas Cool at The Triad Theater.

Moss is a multi-hyphenate entertainer—actor, writer, director, singer—and is the manager of The Triad. Tall and handsome in a “Phil Hartman” sort of way, with a mile-wide smile and an old-school earnest charm, he projects immediate warmth. A Los Angeles native, Moss also co-owns the Famous Boggstown Cabaret in Indiana and regularly emcees at The Triad. As a performer, he boasts stage, film, television, and commercial credits, along with a rich baritone voice, excellent comic timing, and a natural rapport with audiences. He recently joined the cast of the recurring Jackie Mason Musical at the venue. This delightful holiday show has now become an annual tradition.

Before the sold-out performance even began, Moss—dressed in a tux—worked the room like the ultimate host, greeting friends, seating guests, and making sure everyone was taken care of. Bags of candy awaited each audience member, setting a festive tone before a note was sung.

Backing Moss was a crack five-piece band led by trumpeter and music director Andy Warren, with saxophonist Stan Killian, drummer Paul Francis, bassist Peter Brendler, and pianist Antonguilio Foti.

The evening opened with “It’s the Most Wonderful Time of the Year” (Edward Pola/George Wyle), with Moss in a green dinner jacket encouraging enthusiastic audience singalongs. On “Sleigh Ride” (Leroy Anderson/Mitchell Parish), arranged with echoes of Nelson Riddle riffs, he serenaded audience members, including his friend Larry, celebrating his birthday at the front table.

Between numbers, Moss displayed a deep knowledge and reverence for the Great American Songbook, sharing stories of composers and lyricists. His introduction to “La Vie en Rose” (Édith Piaf/Louiguy) became one of the night’s emotional peaks, recalling his grandfather’s love for the song. He welcomed his first guest, Mila (Marie-Louise Boisnier), who delivered the French lyrics flawlessly. Moss sang the English lyrics, and they finished the song as a counterpoint duet. Together they also performed a clever contrapuntal mashup of “All of Me” (Gerald Marks/Seymour Simons) and “I’ll Be Home for Christmas” (Walter Kent/Kim Gannon).

Moss’s glee in describing nearly every new number as “my favorite song” became a recurring joke.

During an instrumental of Tommy Dorsey’s “Opus One” (Sy Oliver) that featured drummer Paul Francis front and center for a zany percussion bit, Moss exited for a quick change and returned in full Vegas-era Elvis regalia—white jumpsuit, wig, sunglasses—for a comedic but impressive “Blue Christmas” (Billy Hayes/Jay W. Johnson).

After intermission, he reappeared in a white dinner jacket for “A Marshmallow World” (Peter DeRose/Carl Sigman), a goofy holiday song best remembered as a Frank Sinatra and Dean Martin duet from on their 1967 Christmas special. In some inspired madness, Moss worked the room with a can of whipped cream, offering shots to anyone who opened their mouth like a bird.

Guest vocalist Hannah Celeste followed with “Believe” (Glen Ballard/Alan Silvestri) from The Polar Express. Statuesque and radiant in red, Celeste blended beautifully in harmony with Moss. (She returns to The Triad with her own show on February 13.)

A Burt Bacharach medley featured familiar favorites written with lyricist Hal David – “What the World Needs Now Is Love,” “Walk on By” “I Say a Little Prayer” and “A House Is Not a Home” – but those songs served more to buttress Bacharach’s only real Christmas songs, the obscure “The Bell That Couldn’t Jingle” (with lyrics by Larry Kusik) and “Christmas Day.”

Moss’s strongest vocal moment came with a superb “Angel Eyes” (Matt Dennis/Earl K. Brent), opening a capella, singing the main verses rubato. The arrangement featured an exciting swing instrumental mid-song before returning to a quiet, dramatic close.

The finale, which included the guest singers, paired “Count Your Blessings” (Edwin O. Excell/Johnson Oatman Jr.) with “White Christmas” (Irving Berlin). featured…. snow! Movie magic snow, with the white stuff falling everywhere like manna from heaven, transforming the club into a miniature winter wonderland.

Moss radiates positivity and generosity of spirit. A Night of Christmas Cool is less a performance than a shared celebration—a love letter to great music and the audience that comes to hear it. The show more than lives up to its name.

For upcoming shows at The Triad Theater, visit www.triadnyc.com.

Photos: Andrew Poretz