Review: SOME LIKE IT HOT at TPAC’s Jackson Hall

Yes, I’m reviewing yet another musical based on a movie. This time, it’s Some Like It Hot, the 1959 comedy in which Tony Curtis and Jack Lennon play Joe and Jerry, a pair of musicians who disguise themselves as women to run away with an all-girl band after witnessing a murder carried out by mobsters. If having to pass as women while on the run wasn’t difficult enough, one of the musicians falls in love with Sugar Kane, a singer played by Marilyn Monroe. Honestly, I’m a little surprised that it took awhile for this movie to get the Broadway treatment. The wait was definitely worth it, giving me the best touring production that I’ve reviewed at TPAC so far. Running at TPAC’s Jackson Hall April 21-26, Some Like It Hot is anything but cold.

If you’re going to do a stage musical adaptation of a 50s movie set in the 30s, then you better be prepared to deliver a spectacle. From the set design to the costumes to the choreography, this production reminded me of those Old Hollywood musical movies that I used to watch as a kid. Since the movie that the musical is based on was in black and white, the visual designers took great advantage of using a bold color palette. Scott Pask’s set design wouldn’t feel too out of place on an old MGM film set, and the numerous costumes designed by Gregg Barnes looked like they came straight out of a movie starring Fred Astaire and Ginger Rogers. Natasha Katz’s lighting design was delightful, and I couldn’t stop thinking about how nice the lights looked on Sugar Kane as she sang “At The Old Majestic Nickel Matinee” and “Ride Out The Storm”. Brian Ronan’s sound design was too good that I thought that someone had left the TV on TCM (Turner Classic Movies for those younger than me). Given how female appearances and the male gaze are huge themes for the show, I have to give credit to Hair Designer Josh Marquette and Makeup Designer Milagros Medina-Cerdeira for making all of the ladies look so lovely, particularly Daphne. And as for the orchestra, it was well-conducted by Leigh Delano, who was clearly having a blast. 

Y’all. The choreography. WOW. Normally, I would just mention the choreography in the same paragraph as the other technical aspects of the show, but I just can’t. There’s a good reason why this show won the Tony Award for Best Choreography. Since this is such a dance-heavy show, it should come as no surprise that the choreographer is also the director. Casey Nicholaw didn’t just choreograph the dancing in Some Like It Hot; he carefully choreographed every single thing in such great detail. Given how this musical is based on an Old Hollywood movie, everything had to be precise because actors from that era were presented in a particular way. He could’ve fooled me into thinking that I was on an Old Hollywood film set. I truly admired the dancing, especially this one complex tap dancing chase scene near the end that must’ve taken a lifetime to put together. I find it laughable that Nicholaw has received seven Tony nominations for Best Choreography, and Some Like It Hot is his only win so far. This man choreographed The Drowsy Chaperone, for crying out loud. 

Some Like It Hot is chock-full of characters running and dancing around, so you’d need a stellar cast to pull this off. Thankfully, this cast is stellar. The ensemble is stacked with talented dancers who keep the scene flowing smoothly, even when shots are being fired. Toothpick Charlie/Bar Manager is usually played by Michael Skrzek, but Alec Lloyd filled in for him on Opening Night. Great death scene, Lloyd. Spats, the mob boss who is hunting down the leading “ladies”, was played to spiteful perfection by Devon Goffman. Matt Allen is funny and memorable as Agent Mulligan, and he looks amazing in the second-to-last scene. Edward Javier’s charming depiction of Osgood Fielding III was a highlight for me. I was already a fan of Joe E. Brown’s depiction of the character in the 1959 movie, and I love this version of the character just as much. Osgood is given more depth, and I just want him to be happy. Javier’s performance made me smile. If there’s one performer who could possibly steal the show from the three leads, it’s DeQuina Moore as Sweet Sue. Like Osgood, Sue is a character from the movie who is given more depth and attention. I just want to see this woman succeed, and Moore delivered. 

Finally, we come to the leads. When it comes to leading lady Sugar Kane, you need someone who  can fill the shoes of the iconic Marilyn Monroe. Enter Leandra Ellis-Gaston. I just couldn’t look away from this stunning and talented woman. She demanded attention with a simple look in her eye, and I’m amazed at her breath control as she sings and tap dances at the same time. Now, before anyone asks if the cast director was aware that Sugar Kane was white and not black, I have a little history lesson to give to you. Marilyn Monroe didn’t approve of racial segregation. When she heard that Ella Fitzgerald was rejected from the Mocambo nightclub due to her skin color, she made the owner change his mind by vowing to sit in the front row anytime Ella performed at the club and bring in a load of publicity. If Marilyn had lived to turn one hundred later this year, she would’ve approved of the casting for this show. She also would’ve wheeled right out of the retirement home to shake hands with Ellis-Gaston. Make no mistake about that. 

Playing the roles originated by Tony Curtis and Jack Lemon in the 1959 movie are some big high heels to fill. Tony Curtis’s Joe/Josephine is taken over by Matt Loehr, who just naturally gives off that Old Hollywood leading man energy. He provides that equal balance of selfish scumbag and empathic lover, and his tap dancing abilities would’ve made legends like Fred Astaire or Gene Kelly envious. Joe/Josephine wouldn’t be anywhere without his Jerry/Daphne, and Loehr gets a perfect scene partner in Tavis Kordell, who is making their national tour debut. Kordell shines from start to finish, even before they put on the dress. Their vocals, dancing skills, and comedic timing are all on point. The movie might have the iconic line “nobody’s perfect”, but Kordell is perfect in this show.