His other Broadway credits include original roles in Holiday Inn, The Great Society, Ghost, and Bloody Bloody Andrew Jackson. He also notably appeared in the Broadway revival of The Heidi Chronicles as Peter Patrone, for which he was nominated for an Outer Critics Circle Award and a Drama League Award for Distinguished Performance. It’s a history lesson, it’s a civics lesson, and it’s a damn good time.An American stage and screen actor, Bryce Pinkham is most widely known for originating the role of Monty Navarro in the Tony-winning production of A Gentleman's Guide to Love and Murder, for which he was nominated for Tony, Grammy, and Drama Desk awards. “We’re doing it because it’s a new version, it’s been adapted by our contemporaries, and we are providing audiences the chance to reflect on how far we’ve come-considering the style and manners in which the original was made and the differences we’ve chosen to make in ours. “This is a 2016 version of this,” says Pinkham. I just won the lotto.”Įven as the show’s origins harken back to the heyday of musical theatre, contemporary audiences need not balk. We met a few months ago to meet and talk about this, and he brought his tap shoes along, and we started playing around in the room. “The guy’s got amazing feet,” says Jones. A trained dancer out of the Debbie Allen Dance Academy, audiences might be surprised to know that Bleu has serious hoofing skills. “I’m tapping in this show!” exclaims Bleu. In the role originated by Fred Astaire, he has Corbin Bleu ( In The Heights, High School Musical). Indeed, Jones is a choreographer that builds for the people in his cast. … But in no way shape or form is my goal to replicate any of that choreography.” “I started taking tap when I was very young because of these films I saw on television. “I was very inspired by these kinds of films as a child,” says Jones. The score includes tunes like “Blue Skies” and “Steppin’ Out With My Baby.” Audiences can expect “lots of tap and lots of ballroom and incredible athleticism that these dancers bring into the room.” “It’s the kind of music that, for a choreographer, is the greatest blessing in the world,” says Jones. Greenberg, along with choreographer Denis Jones, have put together a show (based on a glimpse at rehearsal) worth spending a few hours on. He wanted to provide a literal holiday for people to step away from their confusing, chaotic lives for a few hours.” “The reason Bing Crosby said yes to is because he wanted to provide some escape and bring some joy back into the conversation. “Irving Berlin wrote these songs in 1942 when our country and our world was confused about their next steps,” he says. Pinkham agrees that audiences are in need of Holiday Inn. “We found the right keys for me to sing the songs, and I think people are going to get to hear me sing in a way I haven’t before on Broadway, which I’m really excited for.” “There’s nobody who sounds like Bing Crosby, so I’ve given myself permission to not try, to really try and make it my own,” says Pinkham. The romp is a new style for leading man Bryce Pinkham, who takes on the Bing Crosby role from the film. A love triangle forms when Jim’s best friend, dancer Ted, tries to lure Linda to Hollywood. He finds a star (and a connection) with local schoolteacher Linda. Of course, you can take the actor out of the theatre, but you can’t take the theatre out of the actor so Jim turns his new farmhouse into an inn, featuring performances to celebrate each holiday throughout the year. It’s huge.”īased on the 1942 Oscar-winning movie of the same name, Holiday Inn follows an actor, Jim, who’s left show biz for a quieter life in Connecticut. Still, “I don’t know if I’m supposed to say this,” confides Greenberg, “but the house guys say that this is the biggest show they’ve ever had there in terms of pure bulk of scenery and props and special effects. (It’s been less than three years since Holiday Inn transformed from an idea in a conference room to a Broadway bow.) Having tested the waters in a small house (Goodspeed) and in a huge amphitheater (MUNY), the show finds its middle ground on the Main Stem. In fact, so many people felt the need for this on Broadway that the show was fast-tracked.
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