Holiday Inn

Growing up as I did in a time before Internet and before Netflix and Youtube, the Sunday Matinee movie was often the entertainment highlight of my week. I can’t honestly remember whether the 1942 Universal Studios’ Holiday Inn, starring Bing Crosby, Fred Astaire and Marjorie Reynolds, was one that I saw; I hope it was, but I can say that the adaptation staged by Therry Dramatic Society transported me, very happily, right back to that time.

The adaptation was written in 2014 and although it is based on the 1942 movie of the same name, it is set in 1946 and 1947, and borrows Irving Berlin songs from both Holiday Inn and White Christmas. From the outset it is obvious that the plot is merely a device for holding together a night of Berlin’s fabulous songs, along with some spectacular dance numbers, and that’s okay, because it does it ably.

Dance partners and rivals in love, Jim (Brady Lloyd) and Ted (Lindsay Protea) along with their leading lady Lila (Nikki Gaertner Eaton) have just played their last booking. Jim announces to Lila that he is giving up show biz, buying a farm in Connecticut and wants to settle down with her. But before the engagement ring on her finger even has time to get warm, Ted announces that new bookings have been made. Lila cannot resist the call of fame, so it is agreed that Jim will travel to Connecticut to start work on the farm ahead of her arrival.

Deflated, Jim soon realises the farm is in a state of disrepair and the bills are mounting, delivered on behalf of the bank by liquorice munching, scooter riding young Charlie (Charlie Zorkovic). All is not lost, Linda Mason (Lauren Scarfe), prior owner of the farm and herself a former performer, introduces Jim to “fix-it man”, and comedic relief, Louise (Kate Anolak), who sets about helping Jim get things in order. With the help of his hoofer mates from showbiz Jim transforms the farm into Holiday Inn, presenting off Broadway shows during Holiday seasons. From Christmas to Valentines, Easter to New Year and even a very red, white and blue Fourth of July; what better excuse for some big song and dance numbers.

And great songs they are: “Heat Wave”, “Blue Skies,” “White Christmas,” “Easter Parade” and “Cheek to Cheek” to name a few.  The Christmas Eve chorus number “Shaking the Blues Away” featuring tap dancers with jump ropes and bells is a highlight.

Jude Hines has done a great job with a large cast and keeps the show rolling along at just the right pace. Brady Lloyd, reminiscent of a young Jimmy Stewart, is fabulous as Jim and has the audience’s empathy from the outset. Likewise, Lauren Scarfe, looking a lot like June Allyson, owns the second act of the show. But for pure stage presence, Kate Anolak as Louise wins the gong. Admittedly, Louise is a great character, but could fall flat in the wrong hands. No risk of that here; Kate Anolak had the audience eating out of her hands.

The principals are ably backed up by a splendid ensemble of actors and dancers, choreographed by Thomas Phillips and Lauren Noble, with voice direction by Joanna Patrick. The orchestra under the direction of Mark DeLaine never misses a beat.

The costumiers, led by Sandra Davis and Gillian Cordell, have created a beautiful and authentic palette of clothing from the forties for the show and the set design by Gary Anderson incorporates projection, which cleverly sets portions of the action within a black and white film.

If you are looking for a joyful way of “Shaking the Blues Away” look no further than this gem of a show.

Jenny Fewster