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“Cheek to Cheek” is his sentimental favorite. “It’s very, very long, and it makes you very winded, but there’s something so magical about it. “It’s the number I have the most fun doing, but it’s a beast of a number,” he admits. He dances up a storm throughout-courtesy of Denis Jones’ often-thrilling choreography-but goes into high-adrenaline overdrive with a spectacular tap-crackle-and-pop fireworks number. I always looked up to him, and getting the chance to play a character he played is a dream come true for me.” Thankfully, it works.”Ĭorbin Bleu has some pretty big tap-shoes to fill as well-like, Fred Astaire’s-playing the dancing half of Pinkham’s act. I had to learn it for a Moliere piece, and I’ve kept it ever since because it’s one of my favorite things to do that reminds me of my days as an athlete.

Not only does Pinkham sing, dance and act, he also juggles-not long, but enough to show you he knows what he’s doing. But, early on, they had me doing some of Bing’s riffs, and I can’t sing ‘em like Bing, so I finally said, ‘Guys, we gotta do something where I can sing like me because I’m never going to sing it as well as Bing did. That’s intentional there to sorta fall back to Bing. “There’s some early-on scatting in the show. I don’t think I could ever pull off a perfect Bing Crosby impression because we have different voices. “I’m certainly doing an homage to that classic style of singing. At this point, I just try to relax and enjoy whatever happens. Who wouldn’t want to sing ‘White Christmas’ on Broadway in December? I’m so excited about that. “It’s certainly feels like a tall order, I won’t lie to you,” he acknowledges, “but I enjoy it, and I’m honored I get to do it. It falls heavily to Bryce Pinkham to follow Bing Crosby’s classic crooning of “White Christmas,” and, yes, he finds it a tad intimidating. It takes most of Act I for the farmer/singer to figure this out, between things like “It’s a Lovely Day Today,” “Blue Skies” and “Steppin’ Out With My Baby.” Act II gets down to the business of saluting the holidays: “Let’s Say It With Firecrackers” for the Fourth of July, “Be Careful, It’s My Heart” for Valentine’s Day, “Easter Parade” for Bunny Day. Wrong call, but the farm comes with a barn, and, as all who have been through Mickey & Judy 101 knows, if there’s a barn, there’s a show. Holiday Inn is about a guy with showbiz battle-fatigue buying a Connecticut farm and taking up the bucolic life. The idea of the plot-a President returning to civilian life-morphed into Mr. It’s a Yule log of 20 evergreens, four reprises and one song having a very tardy (like, 68 years) world premiere: “Nothing More To Say.” According to Ted Chapin of The Rodgers & Hammerstein Organization that handles Berlin’s musical empire, “It was written for Stars on My Shoulder, a 1948 musical that never saw the light of day. That has been updated safely out of the World War II zone to 1946 by Chad Hodge and director Gordon Greenberg and saturated in Berlin standards for the same-named stage musical that checked into Studio 54 on October 6. This quaint conceit in his film, Holiday Inn, also earned him his only nonmusical Oscar nomination-for Best Original Story of 1942. He even provided a musical menu they could knock themselves out over, including his lone Oscar winner, “White Christmas.” Holiday Inn, as Irving Berlin envisioned it back in ’41, was a place showfolk could go on their holidays off to do a show.