Review: Tony-Winning SOME LIKE IT HOT Musical Adaptation Amuses at Segerstrom Center

Some cinema historians will likely argue that nothing needed to be changed about the Billy Wilder-directed film classic Some Like It A Hot, that cheeky 1959 United Artists comedy that starred Tony Curtis, Jack Lemmon, and Marilyn Monroe that many consider as one of the greatest films of all time.

But the brave, forward-thinking creatives behind the film's most recent stage musical adaptation thought differently, choosing to tweak the show's source material slightly for its brand-new, 21st Century-friendly Broadway musical iteration to incorporate a more progressive, modern sensibility, while also still maintaining the original movie's madcap elements that made it such a beloved comedy in the first place. 

That successful, creative gamble—featuring an amusing, gag-filled book co-authored by Inheritance playwright Matthew López and Late Night with Seth Myers contributor Amber Ruffin that anchors tunefully jazzy songs from the HAIRSPRAY music team, composer Marc Shaiman and lyricist Scott Wittman—ultimately became the 13-time Tony Award-nominated 2022 musical SOME LIKE IT HOT, a surprisingly delightful, hilariously fun, and gleefully silly musical comedy that also has an endearingly open-minded new twist that re-contextualizes the movie's main raison d'être into something more empowering and thoughtful rather than problematic when viewed from today's lens.

The infectiously joyful show's marvelous touring production—directed and choreographed with rousing, kinetic energy by Casey Nicholaw direct from its Broadway origins—continues performances at OC's Segerstrom Center for the Arts in Costa Mesa, CA through October 19, 2025.

Much like its source material, the musical stage adaptation—set in Prohibition-era Chicago—follows the misadventures of two down-on-their-luck, recently unemployed musicians, Joe (the hilarious Matt Loehr) and Jerry (the amazing Tavis Kordell), who accidentally witness a mob hit orchestrated by powerful local gangster Spats Colombo (Devon Goffman). 

To escape being offed themselves, the pair of best friends—who've known each other since childhood after Jerry's parents raised Joe after Joe's parents abandoned him—decides on a whim to disguise themselves as women and join an all-female swing band formed by their former colleague Sweet Sue (the spectacular scene-stealer DeQuina Moore) that's about to leave town on a cross-country tour headed west for San Diego, California. Joe, a saxophonist, takes on an alter ego named Josephine, while Jerry, who plays the bass, is rechristened as Daphne. By lucky happenstance (haha) both Josephine and Daphne are exactly what Sweet Sue’s band needed for the tour!

Naturally, as most farcical plots go, multiple complications arise on the road: lusty Joe falls for his band's sexy, charismatic lead singer, Sugar Kane (the exquisite Leandra Ellis-Gaston), who joined the all-ladies band to try to keep herself away from the temptation of her weakness for male musicians (uh oh), while Jerry (as Daphne) experiences an unexpected sense of freedom and cathartic self-identity in their new persona—a touching departure from how the character was seen in the film. 

Coincidentally, once the pair and the band finally arrive at the world-famous Hotel del Coronado in San Diego, the hotel's quirky wealthy owner Osgood Fielding III (the very funny Edward Juvier) falls head-over-high-heels and experiences love at first sight upon seeing Daphne amongst a sea of other dames.

Along the way, chaos, romance, mistaken identities, sitcom-level misunderstandings, and comic mayhem ensue, culminating in themes of true self-discovery, personal acceptance, and the idea of fostering a chosen family amongst the people we meet along our journeys.

A charm-filled, amusingly enjoyable reimagining of the iconic film, this entertaining stage musical iteration of SOME LIKE IT HOT—not to be confused with 1972's SUGAR, the first and, arguably, much more faithful Broadway musical adaptation of the movie—is a delightful mix of classic, Old-school Broadway razzmatazz with plenty of winking, contemporary sensibilities for today's savvy audiences. 

Nicholaw's direction and choreography keep the production fast-paced and visually dazzling, with dizzying, elaborately-staged dance breaks and whip-smart comedic sequences (a good mix of clever and cheesy) that harken back to golden-age Broadway spectacle. Scott Pask's gorgeous, visually-vibrant sets paired with Gregg Barnes' retro-tastic costumes add to the impactful wow factor. The musical thrives on eye-popping thrills and high energy scenes that adequately balance slapstick humor with sprinkles of heartfelt moments.

And though far more progressive than its source material—it addresses themes of racial prejudice and gender identity quite openly—the musical reverently retains much of the built-in farcical qualities of the original movie and, dare I say, even amps it up even more for people in the back of the house.

Shaiman and Wittman—proven craftsmen of memorable, musical theater comedy gems—deliver a brassy, big-band-tinged score infused with swing, jazz, and tap-heavy numbers (and Nicholaw's dance numbers are awesome), perfectly evoking the story's 1930s setting yet still tipping its top hat to current times in its embedded energy.

Though some anti-progressive audience members may roll their eyes with the show's new contemporary, purpose-driven inclusion of pro-trans and pro-mixed race romances, the seamless integration of these 21st century themes into the existing, more antiquated narrative never once feel like a betrayal or a too-big-of-a-leap in the story arcs. While the original movie was rooted in cross-dressing hijinks, filled with stereotypical "man in a dress" gags, this exuberantly-performed musical reframes that disguise trope through a modern-day, reformist lens, highlighting the by-products of authenticity, identity, and acceptance that characters can now experience without fear or puzzlement. This reinvention certainly avoids some of the dated gender humor of the source material, making the show feel both timely while it remains nostalgic.

To this end, I can appreciate book writers López and Ruffin in their mission to update SOME LIKE IT HOT's narrative to emphasize inclusivity and gender identity, most notably in how Jerry/Daphne's journey is portrayed not simply as a comic disguise but as an authentic exploration of self—a source of genuine elation and joy with the discovery of truth. This adds contemporary resonance to what was originally a mid 20th-century gender-bending farce that viewed drag simply as a laughable, ridiculous means to an end. 

Curtis' version of Joe in the film is mainly a womanizing cad whose disguise as "Josephine" is a vehicle for comic, purposely deceitful seduction schemes. His romance with Monroe's Sugar Kane is played largely for laughs, with Joe mostly manipulating her feelings while disguised. By contrast, Loehr's Joe is, sure, still charming and scheming, but the character is now given a bit more emotional depth and vulnerability. His romance with Sugar is treated with more sincerity and palpable care for the other person, shifting his motivations from trickery to genuine affection. This makes his arc feel less dated and more emotionally grounded, all while Loehr showcases his expertise with the quippy zingers.

Sugar, too, is given more agency and depth in the stage musical version compared to Monroe's typical dumb-blonde in the film version, making her a more compelling romantic lead in this new iteration. The movie introduces her as a vulnerable, naïve singer who dreams of marrying rich but repeatedly falls for the wrong men. Though Monroe's charisma certainly elevates the role, Sugar is often just defined by her gullible dependency. Ellis-Gaston's reinvented Sugar (accentuated by her amazing voice and sultry delivery), on the other hand, possesses more self respect and is an independent thinker, making her an intriguing, more compelling character overall. She's still a dreamer (she wants to be a movie star, a career choice that may not be readily available for her in those early days), but is driven by ambition and genuine talent, and is more in control of her romantic choices. Her relationship with Joe this time around is reframed as one of mutual respect rather than of unchecked manipulation.

Of course, while there's no denying that Lemmon's portrait of Jerry/Daphne in the original film is simply the work of a comic genius, the role itself in its purest nucleus is portrayed as a laughable comic foil, whose transformation into "Daphne" is entirely there for laughs. His engagement to millionaire Osgood (brilliantly played in the film by Joe E. Brown) is portrayed as absurd farce, culminating in the famous final punchline, "Nobody's perfect."

The musical's biggest alteration—a very welcome one, in my opinion—repositions Jerry's experience as Daphne as not only funny but also deeply affirming. Instead of being a mere gag, the wonderful Kordell's Daphne discovers a sense of self and comfort in the discovery of this long-dormant identity that would have not arrived on their lap had it not for the need of becoming someone else out of safety concerns and self preservation. Later, Daphne's relationship with Juvier's lovestruck Osgood is presented with tenderness rather than mockery, reframing that same "Nobody's perfect" line this time as a celebration of acceptance and true affection rather than as a joke. For their part, Kordell brings heart and soul to the musical while still able to elicit laughs when needed.

Overall, SOME LIKE IT HOT - THE MUSICAL is just such a fun, unexpected delight that deserves more attention amongst theatergoers seeking for a fresh entertaining musical comedy. As a stage adaptation of a very famous work of classic cinema, the show succeeds as both homage and reinvention, honorably preserving the screwball comedy roots of Wilder's original film while now reframing the story through a modern perspective that acknowledges identity and belonging that can satisfying modern audiences' sensibilities. While it might be strange to witness such themes be explored in a show that is set in an era when both aren't necessarily in existence, this endearing, charming show makes the premise believably possible and even aspirational. 

Is it a flawless show? Not completely. But, then again—to rephrase the film's final line—Not everything is perfect. But this show made me smile and that’s a pretty big deal.

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Photos from the National Tour of SOME LIKE IT HOT - THE MUSiCAL by © Matthew Murphy, courtesy of Segerstrom Center for the Arts.

Performances of SOME LIKE IT HOT continue at Segerstrom Center for the Arts in Costa Mesa, CA through October 19, 2025. Tickets can be purchased online at www.SCFTA.org, by phone at 714-556-2787 or in person at the SCFTA box office (open daily at 10 am). Segerstrom Center for the Arts is located at 600 Town Center Drive in Costa Mesa. For tickets or more information, visit SCFTA.org.