Review: HOLIDAY INN at Candlelight Music Theatre

Aisle Say didn’t have enormous expectations for “Holiday Inn”, mostly because I have zero expectations for society in general right now. Happily, Candlelight abandoned their normal “Christmas by Candlelight” (a grab bag of seasonal ‘heartwarming’ songs). Two words you will never read in this column: ‘unique’ and ‘heartwarming’.

However, Aisle Say is nothing if not resilient. I attended opening night of “Holiday Inn” considering that any distraction was a welcome relief from America’s ritual seppuku at the voting booth two weeks ago.

The result was an immensely entertaining evening replete with two dozen Irving Berlin standards, an energetic and supremely talented cast of both Candlelight vets and those making their ‘debut’, rambunctious, dynamic choreo by Jody Anderson and “42nd Street” quality tap by Scott Jacobs, technical and visually appealing lighting by Matt Kator, sumptuous costumes by Donyl and innovative set design by Jeff Reim.

The story line goes that Holiday Inn is only open on holidays, where a crooner and a hoofer vie for the affections of a beautiful up-and-coming performer. Jim Hardy (Jared Calhoun),  Lila (Tess Sinatra) and Ted (Matt Robertson) have a popular dance act; the mesmerizing production number, “Steppin’ Out With My Baby”. Poor Jim, he wants to marry Lila but she says she loves Ted. Depressed, he retreats to his CT farm, eventually turning it into “Holiday Inn”. (The set transformation by Jeff Reim was to my mind his most glorious ever…and Aisle Say has seen tens of his set designs).

At the farm, Jim sings “Blue Skies”, a tune Berlin wrote after the birth of his first child. Calhoun is a triple threat performer and is embused with a charismatic stage presence.

With “Heat Wave”, Sinatra and Robertson are outstanding dance partners. Their balletic background suggests they have been to the barre.

Enter Linda (Jessica Ball), an aspiring performer. The relationships of the 4 leads is the typical plot line of the musicals and movies of the 30's and 40’s; confusing and fantastical. That said, the four leads give credence to the dialogue. And they all have wonderful voices and dance ability. Ball's "Nothing More to Say" was vibrant. 

Zoi MG McNamara was hysterical as Louise. Tim Moudy was an engaging ensemble number. His comic chops as the Hollywood director were priceless and had the audience bent over.

Costumes by Donyl were not only period specific but electrifyingly colorful. How Donyl clothes this many performers on what one assumes is a miniscule budget is astounding.

And, speaking of fireworks, the tap dance production number "Let's Say It with Firecrackers" almost brought the audience to its feet. Tapping while jumping rope? Really :-). Director/Choreographer brought Scott Jacobs in for this. Aisle Say has no idea if all the dancers had tap experience, but he made them look like pros.

Aisle Say wishes to speak to the outstanding tech of this production. Lighting Designer Matt Kator does his homework before production. Next comes the technical aspects of his design. The audience does not always appreciate the influence of the costumes and their colors and the set design. All these elements must come together. (witness the lighting on the accompanying picture).

The set design by Jeff Reim must factor in the same elements that are challenges to light design. With this particular show, the set was not only visually stunning but also highly believeable, allowing seamless transitions between scenes. The stage itself is not huge by any measure. Finding space for both the design AND the actors is challenging.

This was a fun show and deserved a Standing O at curtain.

Photography by house photog Tisa Della-Volpe was excellent as always.

Aisle Say’s table members witnessed his disconsolate demeanor when our server said “no garlic potatoes”.

HOLIDAY INN – Through December 21

Next Up: SOMETHING ROTTEN – January 18        

Oops: Bringing back CHRISTMAS BY CANDLELIGHT as the Xmas show?

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