Review: SOME LIKE IT HOT at BROADWAY SAN JOSE

San Jose is turning up the heat with SOME LIKE IT HOT! It bursts onto the stage in a blaze of jazz, joy and unapologetic flair. With dazzling choreography, comedy, and a story that balances the 1930s Prohibition era with 21st-century heart, this Broadway tour redefines what musical comedy can be. It's witty, warm, and wildly entertaining,  and it's proof that sometimes, reinvention really is the hottest act in town. Playing now through October 26, this Broadway gem is an absolute must-see. Don't wait. Grab your tickets today and the toe-tapping magic begin. 

Book writers Matthew López (playwright, director and screenwriter) and Amber Ruffin (comedian, writer and actress), who set their 2.0 version during the Great Depression toward the end of Prohibition, had no small task in writing a musical adaption of the 1959 classic Crime Comedy film by Billy Wilder of the same name. Their genius lies in the fact that they address racial disparities head on while taking a more nuanced approach to gender fluidity. Set Designer Scott Pask’s scaled touring sets are nevertheless beautifully rendered Art Deco works of art while Gregg Barnes’s resplendent costumes steal the show.

As in the film, the show follows Joe (Matt Loehr) and Jerry (Tavis Kordell), two down-on-their-luck Chicago jazz musicians and lifelong friends who have the misfortune of witnessing a mob hit by Spats Columbo’s gang. Eager to get out of town before Spats (Devon Goffman) and his henchmen find them, they disguise themselves as women (Joe/Josephine and Jerry/Daphne) and join an all-female band led by Sweet Sue (DeQuina Moore) that’s headed to San Diego, California by train. As you might have guessed by now, hijinks ensue!

DeQuina Moore packs a wallop as bandleader Sweet Sue, with a voice that raises the roof. She’s black and she’s tired of always taking the rap for the Speakeasy owners when they get raided for serving booze, leading to her decision to form an all-female band and be her own boss. 

It’s only when Joe and Jerry join the traveling band of women that their eyes get opened to the misogyny that women face every day. Matt Loehr, playing Joe/Josephine, is compelling as he begins to see that his objectification of women is hurtful and wrong. Over the course of the show, he navigates his transformation from a self-interested, scheming jazz musician to someone capable of genuine love and vulnerability.

Tavis Kordell shines in the role of Jerry/Daphne. He’s unexpectedly surprised to find a new sense of freedom when he dons a dress and heels. His journey of self-discovery is handled with grace and poignancy, highlighted by a powerful moment of self-definition: “You can call me Jerry, or you can call me Daphne—just make sure it’s respectful.” It’s a line that resonates deeply, reflecting the show’s commitment to inclusivity and respect for all identities. Kordell, who sings the exuberant “You could have knocked me over with a feather” delivers an unforgettable performance.

Ranease Ryann’s Sugar and Edward Juvier’s Osgood emerge as richly layered characters. Sugar’s resilience, drive and determination and Osgood’s open-hearted acceptance elevate their roles beyond the comedic stereotypes of the original film, offering a fresh and modern take on their individual love stories. Juvier’s Osgood in particular, points to a new path forward in accepting people just as they are.

The musical’s score, composed by Marc Shaiman, who also wrote the lyrics along with Scott Wittman (Hairspray, Smash), sparkles with wit and vitality. Their genius shines in every note, blending toe-tapping jazz with heart-melting ballads. This dynamic duo brings both the humor and the humanity of the story to musical life, ensuring the songs stay with you long after the theater lights dim.

The creative brilliance of director and choreographer Casey Nicholaw (The Book of Mormon, Aladdin) infuses the production with pure joy. Nicholaw’s choreography is a masterclass in exuberance, culminating in a spectacular finale featuring a dazzling ensemble number. With a flurry of slamming doors, stunning precision, and an infectious energy that sweeps the entire cast onto the stage, it’s a moment that will leave audiences cheering in their seats. (Watch Tip Tap Trouble  for a fascinating, behind-the-scenes look at Nicholaw’s brilliance!)

As already noted, this production doesn’t shy away from deeper themes. López and Ruffin’s adaptation reimagines the comedic premise of men in drag as a platform to explore gender fluidity and identity with tenderness and humor. Daphne’s journey is central, but every character undergoes a transformation, shedding preconceived notions and embracing authenticity.

As the show builds to its triumphant conclusion, the joy is palpable—an electric celebration of individuality, love, and the freedom to be oneself. It’s a reminder of the power of art to uplift and inspire, even in uncertain times.

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.

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