HOLIDAY INN

My thoughts on Holiday Inn or…what a journey to the past!

Get ready for the biggest, splashiest, dancingest, singingest, spectacular event of the holiday season. Theatre Arlington ends a banner year with this old fashioned, irresistible shining star atop its tree.

Courtesy of Director Penny Ayn Maas, Music Director Vonda K. Bowling, and Choreographer Becca Brown, Holiday Inn is two hours of musical theater heaven and, to quote another great Theatre Arlington musical from this season, “in here everything is beautiful.”

And how could it not be beautiful with Music Director Bowling and her band that includes Mark Alewine, Andrew Goins, Glenn Lambert, and Nathaniel Collins serving up all those wonderful, classic Irving Berlin songs so sweetly? Bowling and the band hook you from the get-go with an overture that has so many familiar tunes that you can’t help but sway a bit. (Whatever happened to overtures? They are an appetizer before an excellent meal)

The towering two story set for Holiday Inn is designed by set and lighting designer Bryan Stevenson. Ryan Simon’s sound keeps those Berlin classics sharp and clear, and Costume Designer Hope Cox has the 1940’s retro look nailed.

Based on the original 1942 film of the same name, Holiday Inn is the story of singer-songwriter Jim Hardy who leaves show business, bewildering his best friend Ted Hanover and fiancé Lila Dixon, with whom he performs. Jim buys a large rambling old farmhouse in Connecticut hoping for a quieter life. That quiet is complicated when his fiancé does not share his dream and breaks their engagement. Enter Linda Mason, a local schoolteacher who just happens to be an immensely talented singer dancer. Could there be a romance in the offing and how does that farmhouse become the Holiday Inn? Just sit back and let the story, expertly told by Maas, the voices, coached to perfection by Bowling, and the incredible choreography of Becca Brown work their magic.

About that choreography. It’s nothing short of thrilling. I had no idea there were so many talented hoofers in DFW and Brown has them tap dancing in some of the biggest production numbers I’ve seen since the last Broadway revival of 42nd Street. With Brown’s dancers it’s one wow moment after another.

Also a huge wow, and I’m talking Connecticut farmhouse huge wow, is Director Maas’s cast.

Young Gabriel Leal is impressive as the boy bike messenger Charlie Winslow, employed by the bank. Charlie frequently brings bad news to the farmhouse. Leal, who alternates in the role with Jeffrey Carlton, gives the precocious Charlie a boyish confidence that accentuates the role.

Billy Betsill is terrific in the supporting role of Danny, a fast-talking agent who is pushing his clients, Jim, Lila, and especially Ted toward stardom. Betsill has the gruff “goodfella” sound of Danny down pat, but artfully lets Danny’s tender, “still living with mom” side peek through.

What a comic gem Leslie Marie Collins is as Louise, the handy woman of the farmhouse. Collins’ Louise is a sharp-tongued scene stealer. In a role that calls for the presence of a mature Jane Withers and the dry humor delivery of an Eve Arden (Google them), the immensely appealing Collins with her impeccable comic timing, makes Louise her own.

Kynzi Gumm is the embodiment of Lila, the beautiful blonde dancer in the trio who dreams of stardom. Gumm gives Lila a fun “Betty Boopish” voice making her sound like the “dumb blonde” in all those 40’s films, but Gumm’s Lila is clever and knows how to get what she wants. Gumm has enormous charisma on stage and is an outstanding dancer and singer.

Hoofer and actor/singer extraordinaire Carlos Strudwick dominates the stage as Ted Hanover. Ted, who considers himself a ladies’ man, comes across as a bit self-centered, but is actually a good and caring friend to Jim. Strudwick bringing all those Gene Kelly vibes to Ted, is dancing dynamite and impossible to take your eyes off of. Strudwick imbues Ted with an enticing confidant sexiness that adds to the allure of the character.

Jessica Humphrey is the small town schoolteacher Linda Mason. Linda had hopes of performing but stayed home to help her father instead of pursuing a career. She’s a sort of pragmatic dreamer and Jim helps her reawaken her dreams. Humphrey is a sensational actor, dancer, and singer. Her Linda is both sincere and endearing. Humphrey’s engaging demeanor gives Linda an undeniable lovability factor and she charms both Jim and us.

As my Southern grandmother would say if she were here, Max J. Swarner could charm your bloomers off the clothesline. Swarner as Jim, the performer seeking tranquility in the Connecticut countryside, is phenomenal. Swarner excels at showing both the strength and vulnerability of the character and gives Jim a quiet sexuality that is irresistible. And is he ever a crooner. Hearing Swarner sing those classics like “Blue Skies” and “White Christmas” is chill inducing. Part Bing, part Dean, part Perry Como, but one hundred percent Max J. Swarner. I am in awe of you, sir.

Back in journalism class we were taught to never give a list of names. Well, those professors never saw an ensemble like this wildly talented group of dancer/singer/actors, so here goes. You amazed me John Michael Haas, Addisen Bairrington, Jarrett Self, Wesley Adams, Donovan Marie Lawson, Kayla Starr Bryan, Sarah Floyd, Hannah Arguelles, Janina Jaraczewski, Maxton Rhys Sims, Sean Sicard, and Christopher Nguyen.

I am told the remainder of the run of Holiday Inn is sold out, but if you can beg, borrow, or steal a ticket, do it. My friend, Michelle Duyck, remarked to me after the show that she didn’t think she ever stopped smiling. It’s that kind of show. Holiday Inn is a joyous celebration of all that is wonderful about musical theater. Book a room at Holiday Inn if you possibly can.

TICKETS

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