Every year, as winter draws in and Christmas approaches, Ireland experiences a television event that has become nothing short of a cultural phenomenon. The Late Late Toy Show, broadcast annually on RTÉ One in late November or early December, isn’t just another TV program – it’s Ireland’s most-watched show of the year and a beloved national tradition that dates back to 1975.
What began as a humble 30-minute segment about children’s toys in 1974, proposed by Pan Collins and initially rejected by then-host Gay Byrne, has evolved into an entertainment spectacle that regularly captures the attention of over 1.5 million viewers in a country of just 5 million people. That first segment proved so popular that by 1975, it had expanded into a full special episode – and has aired every year since, with 1976 being the only exception.
The format is deceptively simple: children review toys, perform musical numbers, and interact with celebrity guests. But it’s the unscripted moments and pure authenticity that have created some of Irish television’s most memorable moments. Who could forget John Joe Brennan’s sophisticated analysis of Roald Dahl’s works, declaring “I find him very poetic” and sharing his dream of becoming a horologist? Or the little girl who dismissively critiqued Justin Bieber for being “so full of himself”? These moments have become part of Irish popular culture.
The show’s hosts have become synonymous with its success. From Gay Byrne’s iconic Christmas jumpers to Pat Kenny’s infamous “naff” grey sweater, and Ryan Tubridy’s sometimes questionable festive wear (which once prompted him to joke that some fan-submitted sweaters deserved to be tried at The Hague for “crimes against Christmas”), each presenter has added their own flavor to the show. Now, Patrick Kielty carries this torch forward.
The commercial impact of the Toy Show cannot be understated. Getting a toy featured on the show can make or break its Christmas sales in Ireland. Advertising slots during the show are among the most expensive on Irish television – in 2009, a 30-second spot cost €17,000, nearly double the price of advertising during the UEFA Champions League Final. Even tickets to the show’s recording have become precious commodities, with single tickets once auctioning for €1,500.
But what makes the Toy Show truly special is how it has become a shared national experience. Families gather in Christmas pajamas, enjoying special treats and making an evening of it. The audience dons festive wear, from Christmas jumpers to reindeer antlers, adding to the magical atmosphere. Even Dustin the Turkey, a beloved Irish entertainment figure, made the show more special with his annual appearances and comically pointed gifts for the hosts.
The show has also created its own traditions within traditions. The host’s Christmas jumper has become such a talking point that viewers send in their own creations hoping to see them worn on air. The set designs grow more elaborate each year, often based on popular movies or musicals, creating a spectacular backdrop for the evening’s entertainment.
For Irish people abroad, the show has taken on even greater significance. Thanks to modern streaming technology, Irish emigrants worldwide can share this piece of home with their children, ensuring this unique tradition continues with the next generation.
The Late Late Toy Show represents more than just a television program – it’s a celebration of Irish childhood, community, and the magic of Christmas. It’s a reminder that in an age of on-demand streaming and fragmented media consumption, there’s still room for shared national moments that bring people together.
As December approaches each year, households across Ireland prepare for their annual date with the Toy Show, ready to laugh, cry, and experience the wonder through children’s eyes. It’s a night when the entire country seems to pause and remember what it’s like to believe in magic – even if just for a few hours.
After all, as any Irish person will tell you: “It’s not Christmas until the Toy Show.”
Garron explains it well:
