On this fourth of July, I take a look back at this musical comedy which celebrates what America once did with pride: holiday tradition. Somewhere in a mythical state called Connecticut, an exhausted performer who has literally bought a farm, decides to turn the giant white elephant into the very first Holiday Inn, giving special shows for each holiday that passes through the calendar year. Romance follows, complications through his self centered ex-partner and flighty girlfriend threaten his happiness, but like any old musical, a tight happy conclusion is just right around the corner.
While my tongue is deeply embedded in my cheek in reflecting on how things used to be, what this does indicate is the importance of keeping certain old fashioned ideals alive. And how could you make it better than adding in the songbook of Irving Berlin songs, as he represents to this day what is great about the American dream. Front row seats for me was thrilling and scary, as I feared that the glow from my very toothy grin might blind the cast. Add to that tears of joy in seeing it live, and the power of musical theatre becomes stronger than any adhesive in providing happiness like you could never imagine.
After playing villains on Broadway in "Ghost" and "A Gentleman's Guide", Bryce Pinkham is the all American hero: Fred Astaire, in fact, with Corbin Bleu taking on Bing Crosby's role and making him not as noble, if in fact rather self centered even if charming scoundrel. As the dizzy girlfriend who leaves Pinkham for her career, Megan Sikora plays the stereotypical floozy blonde, a musical comedy archetype that goes back to the earliest days of the theater. While Ginger Rogers was not in the movie, Lora Lee Gayer seems to be emulating her, especially with interloped songs which Ginger and Fred danced to in "Top Hat", rumored to be Broadway bound down the road.
For me, the scene stealer is funny girl Megan Lawrence who would make an excellent Fanny Brice. She's delightfully masculine but lovable, a comic dancer and great singer, stealing every scene. Along with such current female clowns on the boards like Jackie Hoffman, Mary Testa and Caroline O'Connor, she's an expert in facial grimaces who combines wisdom and sweetness with each characterization.
This isn't a perfect musical, totally clichéd and often gimmicky, but I dare you not to grin at every musical number finale. Hopefully these shows filmed digitally will make it out commercially at some point, as musical theater itself is as American as independence Day, and the freedom of speech of the theater reminds us all of these irreplaceable values.
While my tongue is deeply embedded in my cheek in reflecting on how things used to be, what this does indicate is the importance of keeping certain old fashioned ideals alive. And how could you make it better than adding in the songbook of Irving Berlin songs, as he represents to this day what is great about the American dream. Front row seats for me was thrilling and scary, as I feared that the glow from my very toothy grin might blind the cast. Add to that tears of joy in seeing it live, and the power of musical theatre becomes stronger than any adhesive in providing happiness like you could never imagine.
After playing villains on Broadway in "Ghost" and "A Gentleman's Guide", Bryce Pinkham is the all American hero: Fred Astaire, in fact, with Corbin Bleu taking on Bing Crosby's role and making him not as noble, if in fact rather self centered even if charming scoundrel. As the dizzy girlfriend who leaves Pinkham for her career, Megan Sikora plays the stereotypical floozy blonde, a musical comedy archetype that goes back to the earliest days of the theater. While Ginger Rogers was not in the movie, Lora Lee Gayer seems to be emulating her, especially with interloped songs which Ginger and Fred danced to in "Top Hat", rumored to be Broadway bound down the road.
For me, the scene stealer is funny girl Megan Lawrence who would make an excellent Fanny Brice. She's delightfully masculine but lovable, a comic dancer and great singer, stealing every scene. Along with such current female clowns on the boards like Jackie Hoffman, Mary Testa and Caroline O'Connor, she's an expert in facial grimaces who combines wisdom and sweetness with each characterization.
This isn't a perfect musical, totally clichéd and often gimmicky, but I dare you not to grin at every musical number finale. Hopefully these shows filmed digitally will make it out commercially at some point, as musical theater itself is as American as independence Day, and the freedom of speech of the theater reminds us all of these irreplaceable values.
