Review: SOME LIKE IT HOT at Walton Arts Center in Fayetteville

If ever a musical deserved the phrase “razzle-dazzle,” it’s Some Like It Hot, now setting Baum Walker Hall ablaze at the Walton Arts Center in Fayetteville through Sunday, March 22. With Book by Matthew Lopez and Amber Ruffin, Music by Marc Shaiman, and Lyrics by Scott Wittman and Marc Shaiman, this touring production arrives like a champagne cork popping, fizzy and glamorous, delivering a full-throttle evening of tap, brass, and pure Broadway joy. From the first blare of big-band swing to the last confetti-like flourish of choreography, this show reminds us why classic musical comedy never goes out of style.

Based on the beloved film, the story whisks us to Prohibition-era Chicago, where struggling musicians Joe and Jerry witness a mob hit and must flee for their lives. Their escape plan? Disguise themselves as women and join an all-female jazz band bound for California. Chaos, romance, and identity-shifting hilarity ensue as Joe pursues the band’s magnetic singer Sugar while Jerry (now Daphne) attracts the enthusiastic attention of an eccentric millionaire, all while gangsters close in. The musical amplifies the original’s farce with a modern take, exploring friendship, reinvention, and the freedom to become who you truly are.

DeQuina Moore opens the show as Sweet Sue, striding onstage with the commanding presence of a true bandleader and every inch the boss lady of a hard-working, road-toughened group of musicians. She balances authority and warmth beautifully, making it clear that Sue runs a tight ship while still fiercely protecting her girls. Moore’s rich vocals and confident delivery set the tone for the entire evening, establishing the stakes, the style, and the no-nonsense glamour of the Jazz Age world we’re about to enter. 

Matt Loehr leads the charge as Joe/Josephine with effortless charm and quicksilver comedic timing, sliding between personas with the smooth confidence of a seasoned vaudevillian. Opposite him, Tavis Kordell’s Jerry/Daphne is the emotional core of the show. They are hilarious, yes, but also deeply moving as the character’s journey blossoms into something far more profound than a simple disguise, and both Joe and Jerry undergo meaningful transformations over the course of the story. It’s inspiring knowing that we witnessed something special with this storyline.

My starry-heart eyes belong to Leandra Ellis-Gaston as Sugar. From the moment she stepped onstage, she didn’t just play the character, she sounded like Sugar in every possible way. Her singing shimmered with that lush, smoky jazz tone the role demands, but what truly set her apart was how she carried that stylization into her speaking voice. Every line felt shaped, swung, and caressed like a jazz phrase, as if she herself were another instrument in the band. I found myself completely riveted, hanging on every word and inflection, studying the rhythm of her delivery the way you would a virtuoso solo. Rarely have I been so laser-focused on a single character’s vocal choices, but Ellis-Gaston made it impossible to look away. She is mesmerizing, glamorous, and utterly unforgettable.

Gaston's performance of “A Darker Shade of Blue” is a standout moment that completely stops the show in the best way. Bathed in sultry atmosphere, Sugar spins a smoky tale of heartbreak and longing, delivering the number with aching vulnerability and jazz-club intimacy. We all felt like confidants to her secret hopes, and by the final note, it wasn’t just Sugar who was smitten, the entire house seemed to have fallen head over heels for that sax man right along with her.

Devon Goffman’s Spats provides the perfect jazzy bad guy energy, strutting into scenes with slick menace and mobster swagger straight out of a noir film. Goffman balances humor and threat beautifully, never tipping too far into caricature while still embracing the larger-than-life style of the piece. His sharp timing and commanding presence keep the stakes high whenever he appears. 

Edward Juvier nearly steals the show as Osgood, delivering delightfully deadpan absurdity that lands punchline after punchline without ever feeling forced. His showpiece, “Poor Little Millionaire,” is an absolute gem, a hilariously self-aware lament wrapped in vaudevillian charm. Juvier leans fully into the character’s eccentric sincerity, milking every comedic beat while still making Osgood oddly endearing. He was so delightful.

And then there is the ensemble, who are a collective powerhouse of dancers who transform the stage into a nonstop kinetic spectacle. Director-choreographer Casey Nicholaw’s signature athletic tap sequences explode with precision and showmanship, recalling golden-age Hollywood musicals while pushing the scale to jaw-dropping heights. And oh my goodness, the tap dancing — there is so much of it, and it is glorious. Shoes strike the floor in thunderous unison, rhythms build layer upon layer, and the sound alone becomes part of the musical score. The sheer stamina required is astonishing; just when you think a number has reached its peak, the dancers launch into yet another blistering sequence that leaves the audience cheering mid-performance. It is synchronized brilliance.

Visually, this tour is nothing short of sumptuous. Scott Pask’s scenic design glides us from smoky Chicago clubs to California locales with cinematic fluidity, while Gregg Barnes’ costumes deliver a parade of flapper glamour, feathered sparkle, and impeccably tailored suiting. Natasha Katz’s lighting bathes it all in a warm, nostalgic glow that still feels fresh and contemporary.

Marc Shaiman and Scott Wittman’s score pulses with big-band exuberance and soul-stirring ballads. Backed by a lush orchestra, the music feels like stepping into a technicolor soundscape where every note is designed to make your toes tap, and they will. The show runs about two and a half hours with one intermission, but the pacing is so brisk and entertaining that time seems to melt away.

Before the curtain even rose, the evening already felt like a special occasion thanks to the Walton Arts Center’s Friends Lounge, a perk that truly pampers patrons who go the extra mile with their season support. Guests are welcomed through dedicated entrances, bypassing the usual bustle, and ushered into a warm, inviting space designed for lingering rather than rushing to your seat. Complimentary beverages and an assortment of tasty bites are available, and the cozy seating areas encourage relaxed conversation with fellow arts lovers. It’s less like waiting for a show and more like attending an elegant pre-party with friends who share your passion for live theatre. By the time the house opens, you already feel cared for and completely in the mood for a night of Broadway-caliber entertainment. To find out how you can become a friend, visit their website at friends.waltonartscenter.org.