The Tony-nominated musical Some Like It Hot, directed and choreographed by Casey Nicholaw, delivered a high-energy, hot-jazz-infused spectacle that left the audience amazed as to how much energy and talent went into this production. With dazzling choreography, packed with flicks, kicks, and flips, the cast belted out show-stopping numbers that had the crowd totally engaged. This adaptation of Billy Wilder’s classic 1959 film captivated the audience with its brassy musical numbers and quick-witted dialogue.
Amber Ruffin, alongside playwright Matthew Lopez, enriched the book for Some Like It Hot with humor, both risqué and clever, adding layers of cultural dialogue, weaving in themes of self-identity, love, and acceptance of personal change. Their adaptation subtly addressed the racial issues of the era and celebrated cultural diversity through the lively sound of hot jazz. This blend of humor and social commentary added depth to the story, making it as profound as it was entertaining. Bravo to Marc Shaiman and Scott Wittman for their dynamic music and poignant lyrics, which brought a dramatic flair to the production. Also, Gregg Barnes’ show costumes, laden with sequins and custom details, were vibrant and truly stunning.
Wilder’s original story, known for cleverly tackling social issues, human vulnerabilities, and moral complexities during Hollywood’s restrictive Hays Code era, is shown through this adaptation. Wilder was inspired by the 1935 French film Fanfare of Love, which tells the comedic story of two unemployed men who join an all-female orchestra disguised as women and their adventures of trying to maintain their ruse.
This production starred Matt Loehr, Tavis Kordell, Leandra Ellis-Gaston, Edward Juvier, Tarra Conner Jones, Jamie LaVerdiere, Devon Goffman and Devon Hadsell.
Joe, played by Loehr, a charming yet impulsive saxophonist, is an obnoxious ladies’ man with a gift for getting into trouble. His sidekick, Jerry, played by Kordell, is a talented double-bassist, but he’s plagued by insecurity and anxiety. They are struggling to find work in Chicago during the Prohibition Era. They land at the Cheetah Club, owned by mob boss Spats Colombo (Goffman). Despite their personality and cultural differences, they share a talent—tap dancing. With no need for musicians. The club agrees to add Joe into the show to tap-dance, but they refused to let Jerry, who is a minority, perform at the club. Joe turns the tables in their favor when Joe and Jerry perform a show-stopping tap-dancing duet of “You Can’t Have Me (If You Don’t Have Him).” This bold, energetic number lands them both a gig as the “Tip Tap Twins”—a name that will keep them on their toes, literally and figuratively. Their lives take a dangerous turn when they accidentally witness Spats murder Toothpick Charlie (Michael Skrzek) and two other informants and find themselves running for their lives.
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The opportunity to improvise and disguise themselves as women is introduced in the lively number “Vamp,” as the characters flee from being pursued by Spats. During a dramatic gunfight between Spats and Detective Mulligan (LaVerdiere), they find a hesitant ally in Sweet Sue’s (Tarra Conner Jones) all-female jazz band, which is enroute to San Diego. Tarra’s powerful voice and commanding stage presence are immediately apparent in her opening number, “What Are You Thirsty For?” As the band’s leader, Sweet Sue, with her talented assistant Minnie (Hadsell) enforces strict rules with her team, ensuring everything runs smoothly with the ladies.
Sugar (Ellis-Gaston) has a sultry expressive voice. She effortlessly conveys her character’s confidence and feminine charm. In her performances of “A Darker Shade of Blue” and “At the Old Majestic Nickel Matinee” she beautifully portrays Sugar’s struggle to achieve her dreams.
As the plot took the characters to the Hotel Del Coronado, where Joe, now Josephine, and Jerry, now Daphne, found themselves, the audience was fully engaged. Joe is smitten with Sugar and he finds himself in awkward attempts to balance his feelings for Sugar while staying in character. The introduction of Osgood (Juvier) immediately lifted the mood of the theater. A highlight of the show was during the tender “Fly, Mariposa, Fly,” which captivated the audience and underscored Daphne’s journey of self-acceptance. Kordell’s heartfelt performance of “You Coulda Knocked Me Over With a Feather” drew the crowd to cheer and applaud.
The grand finale did not disappoint. A chaotic, perfectly timed chase sequence had the audience laughing as doors opened and closed at breakneck speed, with actors weaving in and out, narrowly avoiding capture or collision. The crowd was visibly enthralled with the continual frenzy building momentum during the song “Tip Tap Trouble.” (As a side note, this scene did not use any stage markers!)
Some Like It Hot delivered not only dazzling entertainment but also a fresh, nuanced take on themes of identity, love, and acceptance. It was a night of laughter, reflection, and uncontainable energy and truly a remarkable production.
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