Review: SOME LIKE IT HOT at Broadway At The Hobby Center

Winner of four Tony Awards, including Best Choreography and Best Costumes, Some Like It Hot is set in Chicago during Prohibition, when everyone is thirsty for a little excitement. The story follows two musicians forced to flee after witnessing a mob hit. With gangsters hot on their heels, they hop a cross-country train, setting off on a life-chasing, life-changing journey. With irresistible heart and nonstop laughs, it’s easy to see why the show has been called “a tap-dancing, razzle-dazzling embrace of everything you love about musical theater.”

The production is spectacular from a design standpoint. Costumes by Gregg Barnes are nothing short of dazzling: sparkling gowns, impeccably tailored suits, and a seemingly endless parade of looks that keep the eye constantly engaged. Scenic design by Scott Pask is equally impressive, with a remarkable number of locations brought to life seamlessly. From a nightclub in Chicago to a cross-country train ride en route to San Diego—and a brief detour to Mexico—the show delivers a visually rich, full-scale theatrical experience. Combined with strong lighting, sound, and prop work, the technical elements consistently elevate the storytelling.

DeQuina Moore as Sweet Sue is a standout from her first moment onstage. She tears the show open with “What Are You Thirsty For?” and returns at the end with “Let’s Get Good,” effectively bookending the evening with commanding energy. Having seen her previously both in Houston and in New York City, she continues to prove herself a consummate professional. Her stage presence is commanding, her voice is powerful and assured, and she serves as a steady, charismatic anchor as the leader of her Society Syncopators.

Tavis Kordell brings impressive range to Jerry/Daphne, a role that demands both comedic agility and emotional depth. As his first major touring lead, it’s a strong and promising showing. He moves fluidly into his “new” identity with a clear command of character, all while dancing with ease in a size 16(?) heel, building genuine chemistry with any of his scene partners. Vocally, he shines in numbers like “Vamp!” and “You Coulda Knocked Me Over With a Feather,” bringing both warmth and control to the role.

As Sugar Kane, Leandra Ellis-Gaston delivers a performance anchored by clear vocal strength, control, and impressive range. Her chemistry with both Jerry/Daphne and Joe/Josephine is evident, and she brings an emotional core to the role. At times, however, a stylistic vocal choice slightly distances us from the full impact of her performance. When she leans into a more natural sound, particularly in “Ride Out the Storm,” the result is striking. There’s a sense that an even more fully realized performance is just beneath the surface, ready to break through.

Matt Loehr as Joe/Josephine is a comic highlight. He commands the stage with a strong physical presence, using both movement and timing to great effect. Each of his many character variations is clearly defined and consistently entertaining, and he shares an easy, believable chemistry with both Jerry/Daphne and Sugar. His versatility is on full display in numbers like “You Can’t Have Me (If You Don’t Have Him)” and “Dance the World Away.”

Edward Juvier as Osgood makes a memorable entrance late in Act One and quickly becomes a scene-stealer. With infectious charisma (especially in “Poor Little Millionaire”) and dynamic dance work, he brings both humor and heart to the role. What makes his performance particularly effective is the balance he strikes; alongside the comedy, he reveals a surprising vocal tenderness in “Fly, Mariposa, Fly.” It’s a role actors would kill, and he delivers in spades.

From start to finish, the show rarely lets up. It’s a whirlwind of choreography, music, and fast-moving dialogue, all held together by the direction and choreography of Casey Nicholaw. Large-scale dance numbers and smaller, character-driven moments are woven throughout, and the sustained energy of the cast over more than two hours is genuinely impressive.

Fans of the original film starring Tony Curtis, Jack Lemmon, and Marilyn Monroe will recognize the bones immediately: two musicians on the run, disguises, a touring “all-girl” band, and the romantic chaos that ensues. But the musical is clearly interested in doing more than simply recreating a classic. While still set in the same Prohibition-era world, it reframes the central device through a more contemporary lens, allowing identity, particularly through Jerry’s evolution into Daphne, to carry genuine emotional weight. It’s a shift that deepens rather than replaces the farce, trading some of the original’s wink-nudge cynicism for a more open-hearted sense of self-discovery. While Curtis and Lemmon were caricatures with heart, Josephine and Daphne are all heart, and we fall in love with them, so as the chips fall, we are genuinely invested. The musical also expands Sugar Kane’s agency, giving her greater clarity and purpose. The result is a production that maintains the original’s comedic momentum while arriving at a more earnest and resonant conclusion.