Review: Nothing wrong with a classic! HOLIDAY INN draws a new generation at Firehouse Theatre

Photos by Kris Ikejiri

Holiday Inn

By: Irving Berlin

Directed by Ashley Puckett Gonzales

Music Directed Campbell Green

Produced by Firehouse Theatre

Audience Rating: G
Running Time: 2+ hours, 15 minute intermission
Accessible Seating: Available
Hearing Devices:  Available
Sensory-friendly Showing: Available
ASL Showing: Available
Production Sound/Lighting Level: Comfortable
Audio and Visuals to Prepare For: Music, mild violence (one scene), kissing

Reviewed by Kyle Lester

“I can’t believe I enjoyed that so much,” I declared to my wife as we made the trip home. Don’t misunderstand me, I knew Firehouse’s Holiday Inn would showcase some fantastic DFW-based talent, so it wasn’t surprising that each round of applause I gave wasn’t out of politeness. What surprised me was that this Irving Berlin-composed musical actually kept me invested for 2.5 hours. In my experience, the Golden Age of Hollywood isn’t my era for show-business. Call it the curse of hindsight, but watching Bing Crosby flirt his way across the eastern seaboard while segregation was still deeply imbedded in America kind of ruins the experience for me. It makes sense, then, that I expected what I usually got from mid- century entertainment: a shallow script with few surprises, wrapped in solid, triple-threat performances of saccharine musical numbers. That expectation died about the time four female dancers pranced on stage dressed as sequin-scaled turkeys, and gave myself permission to laugh out loud. Imagine my surprise as I began humming along with the songs, then losing myself in the show’s silly, musical universe. It’s ironic to describe a 1942-penned musical as refreshing, but Holiday Inn feels as welcome the cool air that came with it.

Guided by principal actors Brooke Matthews, Geoff Lutz, and Thomas Schnaible, we follow Jim Hardy (Schnaible), an idealistic dreamer with a voice, as he bids goodbye his moderately successful showbiz career to settle down with his fiancée on a quaint Connecticut farm. His talents resurface, however, when an unexpectedly single Jim finds himself married to a mountain of debt with only one way out: to turn his barren farm into a music venue for every major holiday out of the year. Aided by the surprising talent of a sweet, townie love interest (Matthews) and some old friends, Jim gives his cowboy a little more Broadway.

On paper, Holiday Inn offers typical fare for that time period: cheesy yet amiable dialogue, surprisingly athletic choreography set to classic songs, and vocal performances so smooth they could sell a parka to a polar bear, all wrapped in a cellophane story straight out of a Hallmark movie. However, under the capable direction of Ashley Puckett Gonzales, Firehouse’s presentation burns much brighter than its contemporaries. It’s the delivery and tone that truly elevates this show, as Gonzales’ cast expertly threads the needle between cheese and authenticity, then wraps it in a bow of indisputable talent. As the show’s true engine, Jim embodies this delicate tonal tightrope. Where Jim’s childish idealism could be annoying, Schnaible isn’t afraid to lean far enough into the ridiculousness to make the humor land while strengthening Jim’s charm. Castmates Lutz, Matthews, Jolie Lambert and Sarah Floyd as the farm’s sassy handyman all play along perfectly. Their stage dynamic makes the chaotically hilarious first-act finale a standout hit (*wink wink.*)

The rest of the cast was just as impressive. Talented performers like Andrew Cave and Emma Brett would take center stage, tap-dancing with effortless gusto one minute, then fade into the background the next, catching and releasing the audience’s focus effortlessly. Led by choreographers Gonzales and April Rose Bourg, the capable ensemble enlivened the stage with each step. No breath seemed wasted, and no movement was excessive or purposeless. A fantastic team effort all around. Costumes and staging, by Dayna Rae Dutton and Logan Uhtenwoldt, respectively, framed the show splendidly. It’s a tall order to fit a year’s worth of holiday celebrations in the span of two hours, but they exceled in doing so. Most of Dutton’s versatile wardrobe remained at stage level, but Uhtenwoldt managed to construct a capable second level upstage to cap off his dynamic set. By design, Firehouse offers stadium seating to the audience, which compliments Holiday Inn’s ambitious set pieces.

Firehouse Theater has a well-earned reputation for high-quality theater, and Holiday Inn is the latest example of why. Their team offers equal parts nostalgia, talent, and humor that makes for the perfect December evening, and I thoroughly enjoyed mine. Unfortunately, I feel like this means I have to try every other major film from that time period to see if my generational bias has made me miss any other gems. 

In the meantime, enjoy the show and I’ll see you at the next curtain!

Kyle