Some Like It Hot Touring Reviews

While certainly not the best show written in the near past—that still belongs to “Something Rotten”—this is one of those very pleasant evenings of music and mirth that certainly deserves your attention. Would I see it again? I would. Should y...

While certainly not the best show written in the near past—that still belongs to “Something Rotten”—this is one of those very pleasant evenings of music and mirth that certainly deserves your attention. Would I see it again? I would. Should you see it? Of course you should, especially if you like good, solid musicals. See it for Nicholaw’s wonderful dances, for Kordell’s great impersonation of a woman, for Ellis-Gaston’s emotional singing. See it for yourself. You won’t regret it.

At its heart, “Some Like It Hot” is all about being true to who you are. Under book writers Matthew Lopez and Amber Ruffin, the story smartly evolves the gender dynamics of the 65-year-old film for the modern day and adds in effective commentary ...

At its heart, “Some Like It Hot” is all about being true to who you are. Under book writers Matthew Lopez and Amber Ruffin, the story smartly evolves the gender dynamics of the 65-year-old film for the modern day and adds in effective commentary on race through Sugar, Sweet Sue and Jerry/Daphne, now all Black. And with the pair’s writing backgrounds — Lopez penned the Elvis impersonator-turned-drag artist comedy “The Legend of Georgia McBride” and Ruffin writes for Seth Myers — the pathos is served with countless laugh-out-loud moments.

The Matthew Lopez and Amber Ruffin book with music by Marc Shaiman and lyrics by Scott Wittman and Shaiman is a thrill for all the senses. Scott Pask's scene design and Natasha Katz's lighting package create a beautiful world for the cast to inhabit....

The Matthew Lopez and Amber Ruffin book with music by Marc Shaiman and lyrics by Scott Wittman and Shaiman is a thrill for all the senses. Scott Pask's scene design and Natasha Katz's lighting package create a beautiful world for the cast to inhabit. Gregg Barnes has put together a magnificent array of costumes, and we watch the color palette of the clothing go from rich muted jewel tones in Chicago to pastels and creams when the show progresses to California, ending in stunning saturated colors in the finale.

It’s that deft balance — as well as a solid script and batch of songs and fiery choreography — that scored it the Tony Award for Best Musical last year. And rest assured that the first national touring company is as, yes, hot as anything that g...

It’s that deft balance — as well as a solid script and batch of songs and fiery choreography — that scored it the Tony Award for Best Musical last year. And rest assured that the first national touring company is as, yes, hot as anything that graced the Great White Way.

In the film, the line comes across at first as further proof of Osgood’s self-delusion: he won’t listen to Daphne, so intent is he on chasing his own desires. But it’s also Osgood demonstrating the very trait we celebrate him for in the new, up...

In the film, the line comes across at first as further proof of Osgood’s self-delusion: he won’t listen to Daphne, so intent is he on chasing his own desires. But it’s also Osgood demonstrating the very trait we celebrate him for in the new, updated musical: for accepting Daphne not for her biological sex, irrelevant as that is, but for being herself. And her self, like all the rest of us, doesn’t come close to achieving perfection. We love her anyway. We love her because of it.

Set in 1933, this production embodies the charm of classic musicals, featuring vibrant music, lively choreography, and impressive tap-dancing numbers. The costumes beautifully reflect the style of the 1930s, and the seamless transitions between scene...

Set in 1933, this production embodies the charm of classic musicals, featuring vibrant music, lively choreography, and impressive tap-dancing numbers. The costumes beautifully reflect the style of the 1930s, and the seamless transitions between scenes add to the overall flow of the performance. A standout moment was the clever chase scene involving doors, which showcased both creativity and skill.

This story of Chicago gangsters in the Prohibition era chasing after a pair of musicians who witness mob murders offers loads of fanciful fun. From the orchestra, conducted brightly by Mark Binns, to the splendid cast fronted by blithely gifted Tavis...

This story of Chicago gangsters in the Prohibition era chasing after a pair of musicians who witness mob murders offers loads of fanciful fun. From the orchestra, conducted brightly by Mark Binns, to the splendid cast fronted by blithely gifted Tavis Kordell and Matt Loehr, the “Hot” team earns its giddy keep.

SOME LIKE IT HOT is full of daffy, high-energy musical numbers and laugh-out-loud funny one-liners from López and Ruffin’s book.This touring cast came well prepared to deliver director and choreographer Casey Nicolaw’s vision at a fast clip. Whi...

SOME LIKE IT HOT is full of daffy, high-energy musical numbers and laugh-out-loud funny one-liners from López and Ruffin’s book.This touring cast came well prepared to deliver director and choreographer Casey Nicolaw’s vision at a fast clip. While the farcical antics and slapstick jokes aren’t entirely new, this is a quintessential good time. Likewise, Shaiman’s musical has a nice pep in its step and Wittman and Shaiman understand how to write fun, accessible lyrics. I was particularly charmed that Shaimand Witman’s “Let’s Be Bad,” originally written for the TV show SMASH, made its way into the show as the second act opener.

All that said, if you like a jazzy, retro night out, “Some Like It Hot,” which is now in its first national tour, has some appeal, especially in this city. It’s a fast-paced show, as directed and choreographed by Casey Nicholaw, although I foun...

All that said, if you like a jazzy, retro night out, “Some Like It Hot,” which is now in its first national tour, has some appeal, especially in this city. It’s a fast-paced show, as directed and choreographed by Casey Nicholaw, although I found the touring version, which is smaller, to be thankfully less frenetic than the original. Among the standout performances to enjoy are the very droll Tarra Conner Jones as bandleader Sweet Sue and the journeyman Broadway player Matt Loehr, who plays the Tony Curtis role of Joe here. Loehr is one of those consummate pros who often are passed over for starring roles and yet have a daunting level of craft at their disposal.

Featuring a Depression-era storyline that’s the furthest thing from depressing, Grammy Award-worthy songs that make you want to buy the cast recording to relive the fun (and it did win the Grammy for Best Musical Theater Album), Tony Award-worthy c...

Featuring a Depression-era storyline that’s the furthest thing from depressing, Grammy Award-worthy songs that make you want to buy the cast recording to relive the fun (and it did win the Grammy for Best Musical Theater Album), Tony Award-worthy costumes and choreography (and the Broadway production did win Tonys for both) and several impressive lead performances, this limited-run touring production is pure entertainment of the highest caliber.

In lesser hands, all of this could’ve turned out messy and outdated. The musical adaptation of another man-in-a-dress comedy, “Mrs. Doubtfire,” which is more interested in cheap laughs than nuance, is proof of that. Indeed, “Some Like It Hot�...

In lesser hands, all of this could’ve turned out messy and outdated. The musical adaptation of another man-in-a-dress comedy, “Mrs. Doubtfire,” which is more interested in cheap laughs than nuance, is proof of that. Indeed, “Some Like It Hot” has its share of physical comedy and big performances, but, under Casey Nicholaw’s engaging direction, the show doesn’t rely on either to connect with its audience.

Ultimately, Lopez and Ruffin succeed in elevating the resolution between Joe and Jerry, diversifying the love match between Joe and Sugar, and crafting a more evolved relationship between Jerry and Osgood. Shaiman had the more formidable task in conc...

Ultimately, Lopez and Ruffin succeed in elevating the resolution between Joe and Jerry, diversifying the love match between Joe and Sugar, and crafting a more evolved relationship between Jerry and Osgood. Shaiman had the more formidable task in concocting his score, which is probably why his Some Like It Hot often feels so effortful onstage. They’re all striving so hard to create what the film so naturally was in the first place: a road musical with cherrypicked hits for Marilyn Monroe to croon, including “Runnin’ Wild,” “I Wanna Be Loved by You,” and “I’m Thru With Love.”

More importantly, Some Like It Hot presents these allegedly wild and radical ideas of personal choice without judgment from any of the characters in the film. If there were any negative judgment for doing drag, it would only come from a disapproving ...

More importantly, Some Like It Hot presents these allegedly wild and radical ideas of personal choice without judgment from any of the characters in the film. If there were any negative judgment for doing drag, it would only come from a disapproving audience, as a reflection of them and not the material. Instead, audiences of 1959 were captivated by the smartly-written script (one of Billy Wilder and I.A.L. Diamond’s best), the winning performances, and the clever set-ups to let viewers be “in” on the joke.

The show is led admirably by the leads, Matt Loehr as Joe/Josephine and Tavis Kordell as Jerry/Daphne, who maintain the pace and push the energy throughout the production. The rest of the cast more than holds their own, with special recognition going...

The show is led admirably by the leads, Matt Loehr as Joe/Josephine and Tavis Kordell as Jerry/Daphne, who maintain the pace and push the energy throughout the production. The rest of the cast more than holds their own, with special recognition going to Leandra Ellis-Gaston’s take on the character Sugar, made famous by Marilyn Monroe in the movie. She manages to capture Marilyn’s sweet naïveté that endeared her to millions while also making the character her own. I also want to mention Edward Juvier as Osgood, a millionaire who falls in love with Daphne (Jerry in drag). What could have been a mincing dolt instead becomes a sweet and endearing hopeless romantic who is just seeking love and open to it in whatever form it presents itself.

The musical’s score, composed by Marc Shaiman, with lyrics by Scott Wittman and Shaiman (“Hairspray,” “Smash”), sparkles with wit and vitality. This dynamic duo blends toe-tapping jazz numbers with heart-melting ballads, capturing both the ...

The musical’s score, composed by Marc Shaiman, with lyrics by Scott Wittman and Shaiman (“Hairspray,” “Smash”), sparkles with wit and vitality. This dynamic duo blends toe-tapping jazz numbers with heart-melting ballads, capturing both the humor and the humanity of the story. The music lingers with you, ensuring the songs stay alive in your heart long after the theater lights dim.

“Some Like It Hot,” the stage adaptation of the 1959 Billy Wilder film, evinces deep awareness of these criticisms. The musical, which opened Thursday, Jan. 9, at BroadwaySF’s Orpheum Theatre, seeks to trumpet the delights of the original while...

“Some Like It Hot,” the stage adaptation of the 1959 Billy Wilder film, evinces deep awareness of these criticisms. The musical, which opened Thursday, Jan. 9, at BroadwaySF’s Orpheum Theatre, seeks to trumpet the delights of the original while finding contemporary analogs for its gender humor, all while providing jazzy throwback numbers for audiences who lament the loss of escapist Fred-and-Ginger glamour.

The Shaiman-Wittman score is big, bold and brassy in ways that make it feel like Broadway of old, which is a rare kind of pleasure. In many ways, this show feels like a throwback. It’s decked out like a Broadway dream — with sumptuous Art Deco se...

The Shaiman-Wittman score is big, bold and brassy in ways that make it feel like Broadway of old, which is a rare kind of pleasure. In many ways, this show feels like a throwback. It’s decked out like a Broadway dream — with sumptuous Art Deco sets by Scott Pask and gorgeous ‘30s costumes by Gregg Barnes — but there’s a very contemporary heart at its center.

The production fills the stage with color and energy, with lovely costumes by Gregg Barnes and both Sweet Sue and Sugar have wonderful looks one after another. Josephine has the more dowdy looks of the two, which provides a nice running gag about the...

The production fills the stage with color and energy, with lovely costumes by Gregg Barnes and both Sweet Sue and Sugar have wonderful looks one after another. Josephine has the more dowdy looks of the two, which provides a nice running gag about the character's age and appearance. Daphne's costumes are lovely and showcase their growing sense of self as they become more comfortable with who they are.

My favorite scene (though there were many) is the funny Keystone Cops style change and tap dance. The whole show though, really, is a joyful treat. Speaking of the tap dancing, once again, I’m reduced to saying “WOW!” These guys can dance! T...

My favorite scene (though there were many) is the funny Keystone Cops style change and tap dance. The whole show though, really, is a joyful treat. Speaking of the tap dancing, once again, I’m reduced to saying “WOW!” These guys can dance! The ensemble is incredibly talented and huge kudos go to native San Diegan choreographer Casey Nicholaw. Shoutouts are also due to Devon Goffman as the mobster Spats, Ellis-Gaston as the gorgeous Sugar, Kordell for both Jerry and Daphne, but especially Daphne, Loehr as Joe/ Josephina, and Edward Juvier as hotel owner Osgood.

The tight script shows each of the cast members, well perhaps minus Spats, coming into their power without losing the humor of the original. The character’s triumph is only possible through the triumph of the cast and creative teams who brought it ...

The tight script shows each of the cast members, well perhaps minus Spats, coming into their power without losing the humor of the original. The character’s triumph is only possible through the triumph of the cast and creative teams who brought it to the stage. “Some Like It Hot” delighted the audience and deserved every ounce of praise it has gotten from critics, audiences and the Tonys if not more.

It’s always a risk to transplant a beloved classic film to the stage, particularly when that film is one so thoroughly embedded in its time as SOME LIKE IT HOT. Yet this latest Broadway adaptation, now performing at ASU Gammage until the 16th, with...

It’s always a risk to transplant a beloved classic film to the stage, particularly when that film is one so thoroughly embedded in its time as SOME LIKE IT HOT. Yet this latest Broadway adaptation, now performing at ASU Gammage until the 16th, with kinetic direction and crowd-pleasing choreography by Casey Nicholaw, not only succeeds in updating the story but breathes new, surprising life into its proceedings.

Directed and choreographed by Casey Nicholaw, Some Like It Hot is filled with dancing, singing, and vivacity. His production maintains the film's comedic and romantic flourishes while expanding its lens to include themes of gender identity, female em...

Directed and choreographed by Casey Nicholaw, Some Like It Hot is filled with dancing, singing, and vivacity. His production maintains the film's comedic and romantic flourishes while expanding its lens to include themes of gender identity, female empowerment, and confronting adversity.

This touring production of Some Like It Hot is undeniably packed with talent, featuring a dynamic cast that delivers strong vocal performances and truly impressive dance numbers. The choreography is crisp, stylish, and full of energy, bringing a vibr...

This touring production of Some Like It Hot is undeniably packed with talent, featuring a dynamic cast that delivers strong vocal performances and truly impressive dance numbers. The choreography is crisp, stylish, and full of energy, bringing a vibrant visual flair to the stage. However, despite these strengths, the show itself doesn’t quite come together as a fully engaging theatrical experience. The book feels uneven, with humor that sometimes misses the mark and dialogue that struggles to build momentum. Additionally, while the score is lively and enjoyable, many of the songs felt more like entertaining diversions rather than essential storytelling moments, often stalling the plot rather than propelling it forward."

This show is funny! Jokes are delivered with comedic timing genius. Tarra Conner Jones’s Sweet Sue is packed with personality as she delivers one liners. She’s bigger than life. Matt Loehr (Joe/Josephine) and Tavis Kordell (Jerry/Daphne) are funn...

This show is funny! Jokes are delivered with comedic timing genius. Tarra Conner Jones’s Sweet Sue is packed with personality as she delivers one liners. She’s bigger than life. Matt Loehr (Joe/Josephine) and Tavis Kordell (Jerry/Daphne) are funny in more ways than in just their disguised appearance. Unexpected humor, dry wit, smart comebacks all combine to make this more than another slapstick comedy.

Having seen the musical, the Tonys for Nicholaw's exhilarating choreography, Barnes' dazzling costumes and Carter and Rosen's rousing orchestrations are all well-deserved. The set design by Scott Pask, lighting by Natasha Katz and sound by Brian Rona...

Having seen the musical, the Tonys for Nicholaw's exhilarating choreography, Barnes' dazzling costumes and Carter and Rosen's rousing orchestrations are all well-deserved. The set design by Scott Pask, lighting by Natasha Katz and sound by Brian Ronan are excellent, too.

Some Like It Hot oozes talent and it is a very ensemble-heavy show. Kudos to every cast member on that stage because at times, it's difficult to know where to look... The humor does not rest but it also becomes immensely heartwarming when Jerry disco...

Some Like It Hot oozes talent and it is a very ensemble-heavy show. Kudos to every cast member on that stage because at times, it's difficult to know where to look... The humor does not rest but it also becomes immensely heartwarming when Jerry discovers and eventually reveals that he feels more comfortable as Daphne than he ever did as Jerry.

I'm aware that there has been a recent pushback against "drag disguise comedy," as outdated, hacky or even transphobic. These are all entirely valid points of view, but I can't help but think of Some Like It Hot as a show ABOUT that, not simply a sho...

I'm aware that there has been a recent pushback against "drag disguise comedy," as outdated, hacky or even transphobic. These are all entirely valid points of view, but I can't help but think of Some Like It Hot as a show ABOUT that, not simply a show that DOES that. As Joe puts on an imitation of his second grade teacher, minces around and burlesques femininity cluelessly, Jerry discovers a lived truth and an authenticity that doesn't come so much from changing your voice or your body language, but from embracing things about yourself that you weren't ready to embrace before.

"Some Like it Hot” is laugh-out-loud funny from start to finish, but it also has a real heart. With nods to social issues like racism, sexism and gender identity, it feels modern, even in its century-old setting. Of course, it still feels like a lo...

"Some Like it Hot” is laugh-out-loud funny from start to finish, but it also has a real heart. With nods to social issues like racism, sexism and gender identity, it feels modern, even in its century-old setting. Of course, it still feels like a loving sendup of an all-time great film.

“This is a short run, and it’s absolutely worth making time for. Call your musical-loving friends, rearrange your calendar, and grab tickets before this train leaves the station. Some Like It Hot is big fun, gorgeously staged, and not to be misse...

“This is a short run, and it’s absolutely worth making time for. Call your musical-loving friends, rearrange your calendar, and grab tickets before this train leaves the station. Some Like It Hot is big fun, gorgeously staged, and not to be missed.”

Joe and Jerry are two itinerant musicians who pick up a club gig, when they witness a mob massacre. They disguise themselves as Josephine and Geraldine/Daphne, and join Sweet Sue and her Society Syncopators, an all-girl band winding its way out west....

Joe and Jerry are two itinerant musicians who pick up a club gig, when they witness a mob massacre. They disguise themselves as Josephine and Geraldine/Daphne, and join Sweet Sue and her Society Syncopators, an all-girl band winding its way out west. Along the way, they meet Sugar, an aspiring singer, and Osgood, a millionaire. On the journey, they’re transformed as people trying to find their real selves while trapped in their assumed identities.

This is a show that piles on the humor, the hoofing and the sweet romancing but also knows when it might be too much. It may seem hard to credit this excessively lively, often over-the-top whirl of witticisms, sweet-talking and terpsichore with restr...

This is a show that piles on the humor, the hoofing and the sweet romancing but also knows when it might be too much. It may seem hard to credit this excessively lively, often over-the-top whirl of witticisms, sweet-talking and terpsichore with restraint, but “Some Like It Hot” can cool it down when required. That goes for the jokes, too.

The cast is now racially diverse. Matt Loehr, who was part of the original Broadway cast of “Elf” and the 2010 revival of “Promises, Promises,” has plenty to do onstage in the role of Joe/Josephine/Kip, frequently switching costumes as he cha...

The cast is now racially diverse. Matt Loehr, who was part of the original Broadway cast of “Elf” and the 2010 revival of “Promises, Promises,” has plenty to do onstage in the role of Joe/Josephine/Kip, frequently switching costumes as he changes between the two characters. Tavis Kordell, a North Carolina native, takes on the part of Jerry and the fabulous Daphne in their national tour debut.

In a script that focuses on self-discovery, right and wrong in pursuit of survival, and gender identity, all wrapped in a script that is by turns funny, poignant, and sometimes downright silly, the writers encapsulate the best points of the gender-be...

In a script that focuses on self-discovery, right and wrong in pursuit of survival, and gender identity, all wrapped in a script that is by turns funny, poignant, and sometimes downright silly, the writers encapsulate the best points of the gender-bending movie. And while staying essentially true to the original, those elements that speak directly to the pursuit of the characters’ revelations about who they truly are is what sets this musical version apart from the movie.

The book by playwright Robert Lopez (‘The Inheritance’) and comedian and talk show host Amber Ruffin (‘Late Night with Seth Meyers’) softens the cringe of the original entertaining-but-it-was-the-1950s movie, though it swaps some of the more ...

The book by playwright Robert Lopez (‘The Inheritance’) and comedian and talk show host Amber Ruffin (‘Late Night with Seth Meyers’) softens the cringe of the original entertaining-but-it-was-the-1950s movie, though it swaps some of the more transphobic jokes for ageist jabs about how old Joe looks. The intermission break falls at a lackluster part in the plot, but the story picks up in the second act when Jerry finds that presenting as a woman bassist named Daphne has become less of a disguise and more of a homecoming

If you’re a fan of the original film, you’ll be amazed by how the creative team reimagined the story for the 21st century. If you’re not familiar with it, you’ll be amazed by how they pulled off an old-fashioned traditional musical comedy for...

If you’re a fan of the original film, you’ll be amazed by how the creative team reimagined the story for the 21st century. If you’re not familiar with it, you’ll be amazed by how they pulled off an old-fashioned traditional musical comedy for the modern age. Everything looks so visually appealing from Natasha Katz’ wonderful lighting to Scott Pask’s elegant set to Gregg Barnes’ glamorous costumes. Some Like It Hot not only proves to be a great time, but also offers a great message for this day and age.

But it’s Tavis Kordell’s Daphne who steals the show. A nonbinary performer bringing remarkable nuance to the role, Kordell charts a compelling journey from anxious sidekick to radiant leading lady. The show doesn’t use contemporary labels, but ...

But it’s Tavis Kordell’s Daphne who steals the show. A nonbinary performer bringing remarkable nuance to the role, Kordell charts a compelling journey from anxious sidekick to radiant leading lady. The show doesn’t use contemporary labels, but it’s clear that Daphne’s experience is one of gender exploration. In a pivotal scene, Daphne sings to Joe that "Daphne is the best part of me, oh yeah, Daphne is who I love to be." It's a moment of genuine power, and Kordell grounds it in truth.

The book deviates from the screenplay, updating it for more contemporary times, but it does so in an organic way. It’s like this is exactly how the film would have been if it had been able to be in the 1950s. It’s clever and smart but not smirkin...

The book deviates from the screenplay, updating it for more contemporary times, but it does so in an organic way. It’s like this is exactly how the film would have been if it had been able to be in the 1950s. It’s clever and smart but not smirking. It’s romantic and sweet, but never saccharine. Everything about it fires on all cylinders, gleaming like a brass band.

The pace is fast, and the huge cast works overtime to maintain the production's frenetic energy. Matt Loehr is equal parts funny and frustrating as the constantly scheming Joe/Josephine, while Tavis Kordell delivers a transformational performance as ...

The pace is fast, and the huge cast works overtime to maintain the production's frenetic energy. Matt Loehr is equal parts funny and frustrating as the constantly scheming Joe/Josephine, while Tavis Kordell delivers a transformational performance as Jerry/Daphne. Edward Juvier is delightful as Osgood Fielding III, with strong turns from Tarra Connor Jones as band leader Sweet Sue and Leandra Ellis-Gaston as Sugar. The large ensemble also delivers, particularly in the dance sequences.

There was nothing I didn’t love about this production. The rousing tap numbers, the clever lyrics integrating comedic moments, stunning scenic design by Scott Pask, and top-notch performers. Some of the principals are familiar faces in Sacramento. ...

There was nothing I didn’t love about this production. The rousing tap numbers, the clever lyrics integrating comedic moments, stunning scenic design by Scott Pask, and top-notch performers. Some of the principals are familiar faces in Sacramento. Both Loehr and Conner Jones are Broadway at Music Circus veterans; Loehr was last seen in Something Rotten, and Conner Jones in The Music Man. Conner Jones is absolutely flawless as Sweet Sue. Her physical comedy, impeccable timing, and sheer power as a performer are spectacular to witness. It’s also her last run before leaving the show, and you do not want to miss her. This woman is a star.”

It’s from the glory that is Marc Shaiman and Scott Whitman, the geniuses behind “Hairspray”, so you know it’s good. Plus, direction and choreography from the amazing Casey Nicholaw, so get ready for some wonderful dance numbers, including som...

It’s from the glory that is Marc Shaiman and Scott Whitman, the geniuses behind “Hairspray”, so you know it’s good. Plus, direction and choreography from the amazing Casey Nicholaw, so get ready for some wonderful dance numbers, including some good old fashioned tap numbers and a raucous, Scooby-Doo-esque chase scene on stage. This is a good old-fashioned musical that’s good new-fashioned fun and one of my favorite things to come out of Broadway in recent years. Which is why I was shocked it didn’t last longer there. No accounting for taste, I guess. But it's here now and you can revel in its glory.

Tavis Kordell is magnificently poised as Jerry/Daphne, and Matt Loehr brings sharp wit to Joe/Josephine. Leandra Ellis-Gaston draws in elements of original actresses Marilyn Monroe and Adrianna Hicks, along with bits of herself, to her portrayal of S...

Tavis Kordell is magnificently poised as Jerry/Daphne, and Matt Loehr brings sharp wit to Joe/Josephine. Leandra Ellis-Gaston draws in elements of original actresses Marilyn Monroe and Adrianna Hicks, along with bits of herself, to her portrayal of Sugar.

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 ...

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.

With the shift in the country’s political climate, Some Like It Hot stands as a beacon of hope in a time of despair. The arts have always been a refuge, a space where truth and beauty flourish against the odds. This show exemplifies that spirit, of...

With the shift in the country’s political climate, Some Like It Hot stands as a beacon of hope in a time of despair. The arts have always been a refuge, a space where truth and beauty flourish against the odds. This show exemplifies that spirit, offering not just an evening of spectacular entertainment but also a reminder of our shared humanity and the courage it takes to live authentically and to defend the rights of everyone to have the opportunity to do so as well.

That heat arrives immediately in the opening number of the Marc Shaiman, composer, and Scott Wittman, co-lyricist with Shaiman, Tony Award—winning score. The lively ensemble piece "What Are You Thirsty For?" introduces dynamic conductor Sweet Sue a...

That heat arrives immediately in the opening number of the Marc Shaiman, composer, and Scott Wittman, co-lyricist with Shaiman, Tony Award—winning score. The lively ensemble piece "What Are You Thirsty For?" introduces dynamic conductor Sweet Sue and her all-women band. As in the film, Joe and Jerry disguise themselves as women to escape aboard the train carrying the band to gigs en route to their major performance destination in San Diego. Joe befriends lead singer Sugar and eventually romances her when not in disguise.

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 dema...

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.

This production is big: Art Deco sets and trains and fancy hotels and mobster’s offices and dizzying dance numbers with swinging doors and madcap moves. So many hi-jinks! Womanizing, getting gigs, running from the mob, cross-dressing, romantic intr...

This production is big: Art Deco sets and trains and fancy hotels and mobster’s offices and dizzying dance numbers with swinging doors and madcap moves. So many hi-jinks! Womanizing, getting gigs, running from the mob, cross-dressing, romantic intrigues, trips to Mexico! It is hard not to marvel at the sheer ambition of all the intersecting plot lines and the brash and fun musical numbers that pump up the volume of the whole experience. But there is a lot going on and it’s fun just watching such a bewildering, zany show.

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...

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.

So why then is this show rather drab and uninspiring, never catching fire nor sending off any sparks. It’s probably the casting. Both Matt Loehr (Joe and Josephine) and Leandra Ellis-Gaston (Sugar) are in the wrong show. He’s not dashing enough n...

So why then is this show rather drab and uninspiring, never catching fire nor sending off any sparks. It’s probably the casting. Both Matt Loehr (Joe and Josephine) and Leandra Ellis-Gaston (Sugar) are in the wrong show. He’s not dashing enough nor pretty enough; she’s got the beauty but, unfortunately a whiny vocal hitch in her throat that sounds as if she’s just inhaled a hit of helium. A bombshell who sounds like Betty Boop.

In the musical version, presented locally by Broadway Dallas as part of the show’s North American tour, Sugar and bandleader Sweet Sue are Black, Lemmon’s character Jerry/Daphne is played by a nonbinary actor, and Daphne’s would-be lover Osgood...

In the musical version, presented locally by Broadway Dallas as part of the show’s North American tour, Sugar and bandleader Sweet Sue are Black, Lemmon’s character Jerry/Daphne is played by a nonbinary actor, and Daphne’s would-be lover Osgood is Mexican American.

A must for stories such as this to click at the highest level is chemistry – most notably between the stars. Many great movies and stage presentations have fallen flat because something just didn’t connect between the main characters. The chemist...

A must for stories such as this to click at the highest level is chemistry – most notably between the stars. Many great movies and stage presentations have fallen flat because something just didn’t connect between the main characters. The chemistry between Loehr and Kordell works wonderfully. Their tap dancing routine in “You Can’t Have Me (If You Don’t Have Him)” is both stunning and flawless.