‘Holiday Inn’ is blandly pleasant fare at Seattle’s 5th Avenue Theatre

In this era of strip-mining existing properties for every last nugget of nostalgia, a stage adaptation of the 1942 film “Holiday Inn” feels like more of an inevitability than a stroke of inspiration.

The 1942 film “Holiday Inn” is meek entertainment, bare threads of a halfheartedly improbable plot strung together by the considerable charms of Bing Crosby’s crooning and Fred Astaire’s tapping. (Director Mark Sandrich did better capturing lightning in a bottle with his Astaire-Ginger Rogers pictures, including all-timers “Top Hat” and “Shall We Dance.”)

In this era of strip-mining existing properties for every last nugget of nostalgia, a stage adaptation of “Holiday Inn” feels like more of an inevitability than a stroke of inspiration.

Retaining half-a-dozen of Irving Berlin’s songs from the film — obviously, the appalling blackface-accompanied “Abraham” is gone — and adding another dozen or so Berlin numbers, including “Blue Skies” and “Cheek to Cheek,” the musical is blandly pleasant holiday fare. Still, it dilutes the original’s modest appeal with a new book by Gordon Greenberg and Chad Hodge that bloats proceedings with mild incident.

THEATER REVIEW

‘Holiday Inn’

Through Sunday, Dec. 31, 5th Avenue Theatre, 1308 5th Ave., Seattle; $46-$185 (206-625-1900 or 5thavenue.org)

Originally produced on Broadway in 2016 by Roundabout Theatre Company, “Holiday Inn” is now on stage at the 5th Avenue Theatre, directed by departing executive producer and artistic director David Armstrong, and James A. Rocco, with a cast of familiar 5th faces.

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Eric Ankrim’s golly-shucks charisma plays nicely as Jim Hardy, an erstwhile stage star who longs for a quiet life, buying a farm in Connecticut to fulfill his pastoral fantasies. His song-and-dance partners Ted Hanover and Lila Dixon (Matt Owen and Taryn Darr) can’t quite believe Jim’s departure from show business, and each acts as his foil in business and romance.

In a show with no villain and very little real conflict, Owen and Darr both land their performances in the sweet spot of callously-indifferent-but-not-too-callously-indifferent.

In this iteration, Linda Mason (Sarah Rose Davis) isn’t an aspiring performer, but a schoolteacher whose family farm gets purchased in foreclosure by Jim. In their attempts to flesh out the female lead role, Greenberg and Hodge…

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