L.A. Review: Musical Theatre West's "HOLIDAY INN" Is A Lovely Place to Visit

• Michael L. Quintos, Associate Los Angeles Critic

A joyful, smile-inducing stage adaptation of the 1942 black-and-white movie classic, the new stage iteration of the Irving Berlin musical "HOLIDAY INN" is still quite unabashedly square and old-fashioned like its cinematic origins, but yet is oh-so winningly cheery and endearing from start to finish, thanks to its entertaining combination of timeless Berlin standards, a more simplified but effectively streamlined narrative (and now without those shockingly offensive sequences in blackface), and some of the most extraordinary tap-dancing this side of 42nd Street.

While, sure, on the surface, this may seem like just another Berlin songbook revue passing itself of as a "new" stage musical (it is dubbed "the new Irving Berlin musical," in case you were in doubt), the show itself is just a lovely and pleasant surprise filled with awww-shucks charm, reimagining a well-liked but problematic old classic into one that audiences of all generations will find irresistible to like.

Currently, this new adaptation has made it to Southern California, now on stage courtesy of Musical Theatre West for a limited run of 11 performances at the Carpenter Center for the Performing Arts in Long Beach through December 15, 2019.

Under the direction of Danny Pelzig, and featuring one of the peppiest-looking ensembles I've seen on this stage, this, buoyant, superbly-staged regional production is very reminiscent of the recent 2016 Roundabout Theatre Company Broadway production that was filmed for broadcast on PBS (even the sets used here are identical to that original, which were designed by Anna Louizos).

From its opening grandiose overture to its final rousing reprise, MTW's "HOLIDAY INN" is a pure delight of nostalgia for a bygone era, but feels somehow timeless in its premise. Even casual fans with fond memories of the movie will recognize its basic plot, here slightly (and smartly) retooled for modern sensibilities by book writers Gordon Greenberg and Chad Hodge—which still involves a New York stage star named Jim Hardy (wonderfully played by singing/dancing phenom Cameron Bond) who decides to retire to an antiquated farmhouse in Midville, Connecticut to live the simpler way of life… far from the hustle and bustle of showbiz.

Jim, however, is part of a longstanding musical trio—that includes his best friend Ted Hanover (great hoofer Jeffrey Scott Parsons) and girlfriend/fiancé Lila Dixon (the vivacious Jennifer Knox)—so his seemingly spontaneous decision to leave it all behind is a ruinous surprise to everyone else. Both Ted and Lila long to make it even bigger in their singing/acting careers, so reluctantly, Jim agrees to have Lila continue on a performing tour with Ted as arranged by their talent manager Danny (the amusing Jeff Skowron).

For his part, Jim moves ahead to his new life in Midville, with the understanding that Lila will eventually join him in quiet bliss once their months-long tour comes to an end. Alas, his dream isn't her dream… and when the tour has a chance to continue on, Lila chooses to continue working instead. This, of course, breaks Jim's heart—losing his girl to his best friend.

Making things even worse, as some might have expected from such familiar narratives, the farm house Jim purchased on a massive discount turns out to be way more rustic and dilapidated than was initially promised. We soon learn that the property—known around Midville as the Mason Farm—was sold reluctantly by its former owner, local school teacher Linda Mason (the talented Natalie Storrs), who had to give up her family's historic home for smaller, more modest accommodations befitting a single, independent gal with a school teacher's salary and no next of kin left in the world.

With the house needing a mountain of repairs immediately, Jim is blessed by the sudden appearance of the farm house's former live-in caretaker and general fix-it girl Louise—played hilariously by frequent scene-stealer Liz Eldridge—who offers her expertise and labor (and even some matchmaking) in exchange for room and board in one of the property's many, many bedrooms.

How will Jim ever recoup his investment on the property nowhere near able to welcome guests in its current state? Well, ironically, it turns out that the industry he so desperately wanted to escape from is exactly what he needs to turn to now to save his new risky venture.

Inspired by his gang of musical theatre friends who Jim recruits to help him move his junk from New York to Connecticut, he realizes quickly that he may not be great at running an inn, but perhaps he's good at putting on entertaining shows! So why not turn his farm house into a hotel-and-dinner-theater destination open only on major holidays!?

Since Jim's theater buddies are busy all other times of the year in their own respective shows on Broadway, why not get them to perform Broadway-caliber shows here at the Mason Farm during the holidays—when these same song-and-dance guys and dolls are not working?

Well, the idea works like a charm! Not only does the creative theming enhance the value of his property, his working along side Linda (who turns out to be a budding singer herself) brings them closer… professionally and romantically.

But dammit, here comes Jim's ex friend Ted, who shows up inebriated and trying to recruit a new stage partner now that Lila, too, has abandoned him, just as Ted is getting offers to bring his duo act to Hollywood. Will he steal the talented Linda away from Jim just as easily as he lured Lila?

Fun and festive in music (courtesy of musical director and orchestra conductor Dennis Castellano), dance (courtesy of choreographer Christine Negherbon), and storytelling (courtesy of Greenberg and Hodge's rewrites), "HOLIDAY INN"—the stage musical—is a definite upgrade from its celluloid roots. As noted before, problematic (read: overtly racist) scenes didn't make the cut this time, making way for a simplified, uncomplicated narrative that compresses Jim's journey as an artist, while incorporating more of Berlin's vast catalog of music to fill it all out.

Every big dance number is sublime. One outstanding number, "Shaking the Blues Away" nearly stops the show! The infectious glee you get from this cast is palpable, making it a pleasure to watch (and hear). Bond and Storrs have great rapport while Eldridge provides great comic relief with every appearance. Kudos also to youngest cast member David Landis who makes occasional appearances as young Charlie Winslow, the spitfire young'in who delivers the news (and the bills and the notices) whether you want it or not.

Slightly changing the circumstances surrounding the character of Linda Mason—recast as the former owner of the farm and a local humble school teacher rather than just another standard issue wannabe actress—made for a more grounded, relatable character that audiences can immediately side and connect with and cheer for, versus the rather bland stock characteristics embedded in the same character's cinematic origins. By making both Linda and Jim slightly awkward and (kind of) dorky together, their meet-cute turned actual pairing becomes an endearing storyline we all want to see succeed.

HOLIDAY INN is like comfort food in musical theatre form, and, yes, perfectly themed to coincide with this time of the year. Don't miss your chance to bathe yourself in re-envisioned nostalgia, great singing and dancing, and a delightful story that warms the heart and fills your insides with much-needed laughter.

Follow this reviewer on Twitter: @cre8iveMLQ.

Photos © Caught In The Moment Photography/Musical Theatre West.

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Musical Theatre West presents "Irving Berlin's HOLIDAY INN"

Music and Lyrics by Irving Berlin. Book by Gordon Greenberg and Chad Hodge, based on the film by Universal Pictures.

Directed by Danny Pelzig. Featuring musical direction by Dennis Castellano, choreography by Christine Negherbon, scenic design by Anna Louizos, costumes based on designs by Alejo Vietti, lighting design by Paul Black, and sound design by Julie Ferrin.

The cast includes Cameron Bond, Natalie Storrs, Jeffrey Scott Parsons, Jennifer Knox, Liz Eldridge, Jeff Skowron, David Landis, Lucas Blankenhorn, Carlin Castellano, Maggie Darago, Fatima El-Bashir, Chaz Feuerstine, Sylvie Gosse, Carly Haig, Patrick Heffernan, Katie Marshall, Gabriel Navarro, Linda Neel, Erik Scott Romney, Clay Stefanki, Adam Stern-Rand, Stephanie Urko, and Landon Zwick.

Performances of Musical Theatre West's production of Irving Berlin's HOLIDAY INN continue through Sunday, December 15, 2019 at the Carpenter Center for the Performing Arts, located at 6200 E. Atherton Street in Long Beach, CA. For tickets or for more information, please call 562-856-1999 x4 or visit online at www.musical.org.