Holiday Inn at Theatre Arlington

“Holiday Inn” is a 2014 musical written by Gordon Greenberg and Chad Hodge, with music and lyrics by Irving Berlin. Based on the 1942 film of the same name, it tells the story of a man who decides to turn his manor into an inn that opens only on holidays. Under the direction of Penny Ayn Maas, with musical direction by Vonda K. Bowling and choreography by Becca Brown, Theatre Arlington’s interpretation presents this story through the lens of a man grappling with trust issues and unresolved insecurities from a past relationship.

To be direct, this play gave me an overall impression of an obsession with looking perfect and, in my opinion, a sense of emptiness. For much of the performance, I felt as though I was watching actors pretending to be caricatures of 1940s personas. Beyond the lines they delivered, it wasn’t clear to me that many of the actors truly understood their characters. Instead, it seemed as if I was watching the same archetypes in different costumes, delivering their lines in a specific way, “just because.”

This isn’t to say that I didn’t see hard work on stage—there was evident effort, and it can be enjoyed—but it felt safe. Many choices lacked coherence or authenticity. For example, why was the glamorous woman who thrived on being the center of attention dancing with an unzipped dress without even attempting to hide it? This felt especially incongruous with the 1940s setting. Why were the Broadway dancers so noticeably out of sync? And why were so many ensemble members turning their heads sideways and speaking to no one in particular, seemingly just to create background noise?

The energy in this production is palpable. The actors exaggerate their expressions and radiate genuine happiness to be on stage. Quick thinking when things go wrong is evident throughout the performance. I must commend the actress who, after slipping and falling flat on her face, quickly stood up and, just five seconds later, was jumping with fearless energy. Similarly, another actress who got tangled in a jump rope promptly exited backstage to avoid disrupting the ongoing choreography. These moments highlight the problem-solving skills and teamwork that are essential for any actor. In this sense, this production exemplifies a profound feeling of respect for their craft and a collective commitment to delivering the best performance possible despite the unexpected.

Louise Marie Collins’ Louise brought immense joy to the stage. Every time she appeared, she fully embraced her role and delivered exactly what was needed. Fearless in her acting choices, she demonstrated impeccable comedic timing and knew how to land a joke effectively. Her physicality conveyed emotions and subtext that her dialogue alone did not. Collins' performance was rich with clear references, showcasing the decade, her character's status, and her objectives with precision. She skillfully navigated the spectrum between the perfectionism inherent in the play and the imperfections that made her character authentically human.

Jessica Humphrey’s portrayal of Linda Mason was the most grounded and reasonable presence throughout the play. Humphrey brought a gentle quality to her character through her delivery of lines, effectively showcasing Linda’s intentions with nuanced body language. Her performance conveyed Linda’s nostalgia, her self-defense, and the internal conflict between curiosity and a fear of entering a relationship. Humphrey’s Linda was imperfect yet secure in her desires and sense of self, and this complexity was beautifully captured in her performance.

Max J. Swarner’s portrayal of Jim Hardy brought to life a character whose impulsiveness, determination to achieve his dreams, and trust issues added depth and complexity to the story. Swarner skillfully revealed a man who falls in love too quickly and is eager to share his life and ambitions with the woman he chooses—often at the expense of considering her dreams. The way this character is written and the softness in Swarner’s voice created a fascinating tension in the narrative. As the audience, I found myself initially rooting for him as the protagonist, only to realize over time that he might actually be the story’s villain.

Carlos Strudwick’s portrayal of Ted Hanover embodied a carefully tailored sense of perfectionism. In his performance, the "search for perfection" felt fully justified and aligned with the character’s objectives. Strudwick conveyed Ted’s intentions through his interactions with other characters, ensuring that every movement and gesture served a purpose. As the script called for specific actions, Strudwick’s impeccable posture and deliberate choices ensured that Ted appeared as flawless as possible.

Karen Potter’s costume design was both essential and perfectly aligned with each character’s objectives and appearance. The thoughtful designs were so inspiring that they made me want to stay at the Holiday Inn just to gather ideas for my own seasonal outfits. The costumes also told a story of time, subtly revealing (spoiler alert) that Jim and Linda’s wedding took place during the spring.

While Holiday Inn offers moments of charm and creativity, its overall execution often feels constrained by overemphasizing surface-level perfection rather than emotional depth and authenticity. Nevertheless, the production shines in its standout performances, quick problem-solving, and visually engaging design elements. Theatre Arlington’s interpretation ultimately captures the spirit of the holidays—a mix of joy, nostalgia, and a touch of imperfection—but leaves room for greater exploration of the story’s deeper emotional layers.

RUNNING: Through Dec 22, 2024

VENUE: Theatre Arlington, 305 W Main St, Arlington, TX 76010

TICKETS: https://theatrearlington.org/