The real name of one of the ensemble members in Holiday Inn is Aaron Burr. Really. But nobody in the play gets shot. And while the depiction of the more famous Aaron Burr in Hamilton is interesting, this Burr’s tap dancing skills, along with those of his castmates, are more fun.

Marya Grandy goes so far as to combine the group’s tapping with moves from Stomp, as she dances with buckets on her feet during one of the numbers. And, in what seems to be becoming a trend, the dancers tapped while jumping rope during one song, akin to, though different from, the jump rope choreography used in Legally Blonde.

While the dancing is great, the cast’s skills go beyond that. Unlike the show Beautiful, where, I hate to break it to you, Jesse Mueller and her successors don’t actually play the piano (though faking it nicely while, as that show’s sound designer explains it, speakers in the piano pump out music supplied from the orchestra pit), Michael Mahler, in the Bing Crosby role in Holiday Inn, does play the piano on stage, and quite well. Seems that Mahler, also is a Jeff Award-winning composer (perhaps he’s related to Gustav).

And, while I have seen and enjoyed Mahler and his costar, Johanna McKenzie Miller, in other shows, I was, as always, relieved to also see one of the Moes, in this case Lorenzo Rush, Jr., who, in the last 15 months, I have heard in Little Shop of Horrors and seen in Five Guys Named Moe, Memphis, and They’re Playing Our Song.

Will Burton, who does a fine job as Ted Hanover, won’t make you forget Fred Astaire (who would?), and there’s no Thomas Jefferson or George Washington dancing with Burr in the ensemble, but I left the theater humming many of the (Irving Berlin) songs, which I didn’t do after Hamilton.