STAGE REVIEW : An Opulent ‘Holiday’ at San Diego’s Globe

America doesn’t have a Noel Coward. The closest thing it can lay claim to is a Philip Barry. Barry’s theater, securely anchored as it was in the mores of the mostly idle rich of the first half of the century, has at least four prerequisites: literacy, wit, urbanity--and prescience.

It’s fitting that Old Globe artistic director Jack O’Brien has chosen to revive “Holiday” in this 50th Old Globe anniversary year. For any number of reasons.

First, the play (which opened Thursday) happens to have been presented as part of the Globe’s first season (1937-38).

Second, next to “The Philadelphia Story,” it is one of Barry’s most engaging and least produced comedies of manners.

Third, as O’Brien notes in the program, it focuses our attention on the underestimated value of revivals--or the American theater’s ability to pay its respects to its own body of literature by re-examining it as thoughtfully and regularly as it does Chekhov or Shakespeare.

Fourth, set in the giddy, grasping affluence of 1928, just before the crash of ‘29, “Holiday” is surprisingly timely in a social climate affected by the stock market plunge of Oct. 19. Coincidence? Artists often do instinctively what intellectuals work out with charts: sniff the coming shape of things.

With or without any of the above, and strictly as light entertainment, “Holiday” is a smart, well-structured slice of American high living that is pleasant to visit, even if you wouldn’t want to live there. (Aside from the pointed vacuity of its super-wealthy, one can’t fail to also note the prevailing separation of races and classes.)

The story itself is not much more than an effervescent romance with a twist among the well-heeled.

Young, self-made Johnny Case (William Bumiller) meets and falls in love with rich, conservative Julia Seton (Ann Gillespie), only to discover in the course of a few weeks that it may be her brighter and more liberated sister Linda (Lise Hilboldt) on whom he should lavish attention.

Lean on plot, “Holiday” is rich in character and context. While the dialogue is close to Coward, the characters and social comment are sometimes downright Chekhovian. Launched on Broadway in 1928, “Holiday” offers a critical view of its contemporary upper crust that has atmospheric connections to “The Cherry Orchard.”

Beyond the love triangle (some parallels also exist between Linda’s passionate restlessness and that of Masha in “The Three Sisters”), we have Julia’s and Linda’s brother Ned (Chuck LaFont), the weak alcoholic son ( very Chekhovian) of domineering tycoon Edward (Norman Welsh). Edward loves controling his grown children’s lives almost as much as he loves controling money. Johnny’s change of heart (from Julia to Linda) is not mere romantic whimsy. It has something to say about a man’s choices--in this case, the choice between the almighty dollar and the quality of life.

O’Brien delivers a quality production--carefully honed and finely polished. He’s chosen his cast with savvy, down to the more peripheral roles of Susan and Nick Potter, friends of Linda’s, played by Kandis Chappell and James R. Winker with the brittleness and mildly fatuous enthusiasm of the very rich and very idle. Their detailing is exquisite, down to the gum Chappell nonchalantly chews while dressed to the nines, and the choral exits she and Winker make in jaunty, playful unison.

Robert Wojewodski has swathed the women in spectacular apparel (a great period, the ‘20s, with which to do flowing, imaginative things).

William Bloodgood’s living room set (softly lit by Robert Peterson) has a high-ceilinged elegance the color of money. His second act playroom is a museum of lavish toys, with such eye-catching detail as snow softly falling on the ceiling window.

There isn’t much O’Brien’s innate flair for the period has overlooked. Someone should consider taking this “Holiday” right into L.A.’s beleaguered Ahmanson (where the play was produced in 1980). It’s that kind of opulent, creamy show.

‘HOLIDAY’ A revival of Philip Barry’s “Holiday” at the Old Globe in Balboa Park, San Diego. Director Jack O’Brien. Scenic designer William Bloodgood. Lighting designer Robert Peterson. Costumes Robert Wojewodski. Sound designer Corey L. Fayman. Stage manager Douglas Pagliotti. Assistant stage manager Deirdre Fudge. Cast Lise Hilboldt, William Bumiller, Ann Gillespie, Chuck LaFont, Kandis Chappell, James R. Winker, Norman Welsh, Mimi Smith, Jonathan McMurtry, Henry J. Jordan, Randy Reinholz, Victoria Ortisematosan Edremoda. Plays

Tuesdays through Saturdays, 8 p.m.; Sundays, 7 p.m.; matinees Saturdays and Sundays, 2 p.m. Ends Jan. 17. Tickets: $14.50-$24; (619) 239-2255.