Review: SOME LIKE IT HOT at National Theatre

A sophisticated, slightly sweet, and satiric tone sweeps over the characters of the luxuriously professional production of the musical Some Like it Hot, now touring at The National Theatre. From the moment that the show opens with the ode to self-gratification and excess “What Are You Thirsty For?” to the hymn to misbehavior “Let’s Be Bad” to the rousing finale “Baby, Let’s Get Good” ---this show grabs the audience and never lets it go.

As many already know, the main premise of the material is that of a male saxophone player named Joe and a bass player named Jerry who inadvertently witness a gangland killing ---consequently, they disguise themselves in woman’s clothing and join an all-female band to try and divert any tragedy--- but comic mayhem, replete with romantic and identity complications, soon begins.

A homage to the cinematic roots of the source material (the 1959 classic film Some Like it Hot) abounds as the character of Sugar (Leandra Ellis-Gaston) sings of cinematic dreams “At the Old Majestic Nickel Matinee” and as a more intimate scene opens up to the wide expanses of a starlit sky enveloping the stage in the elegant homage to Ginger Rogers and Fred Astaire in “Dance the World Away.”

The eclectic range of songs by composer Marc Shaiman and lyricists Shaiman and Scott Wittman(famous for the hit Hairspray among so many others) are merged with deft calibration to propel the stories of the characters that are so beloved by those who remember the classic Billy Wilder directed film classic. The characters’ songs are expressive of each twist in the narrative and are musicalized with excitement and finesse by music director and conductor Mark Binns who conducts the touring orchestra as well as the local orchestra. Charlie Rosen and Bryan Carter’s orchestrations are lush and entrancing to the ear.

Director Casey Nicholaw turns the action loose with a judiciously jaunty eye and lots of double-entendre, winks at dual identities and the desire for vital addictions --but there is a concurrent very polished veneer and professionalism throughout. Director Nicholaw keeps the audience guessing about what will happen from one moment to the next ---even with the familiar context that might remain in the audience’s heads from the film. Dual identities exist not just in  Joe/Josephine and Jerry/Daphne but also in the supporting character of Osgood.

The book by Matthew Lόpez and Amber Ruffin is chockful of witticisms, ironies, and complicated romantic entanglements. The film locale of Miami is changed to San Diego, California . The gender, identity, and cross-dressing content is fluidly intermixed with gangster chases and the story of an all-female band traveling from Chicago to San Diego, California with polished panache and even a subtle sweetness---nothing is forced or broadly pushed in your face. This production is interesting in its meticulous mixing of satire, seamless spoofery and comedic tone.

Joe/Josephine is played by Matt Loehr with a marvelous deadpan delivery. The song “He Lied When He Said Hello” is a frank reckoning sung with a knowing attitude and Loehr’s persona as Josephine occasionally reminded me of the “Church Lady” character from Saturday Night Live.

Tavis Kordell as Jerry/Daphne is hilarious in comic timing and in physical comic movements. “You Coulda Knocked Me Over With A Feather” is a comic delight as performed by Kordell. Kordell’s comic presence is full of flair and texture .

Leandra Ellis-Gaston as the spirited Hollywood hopeful Sugar is delightful. Gaston sang the bewitching and torchy “A Darker Shade of Blue” and the defiant survival anthem “Ride Out the Storm.” Ms. Gaston has an infectious charm onstage and a gorgeous singing voice.

Edward Juvier as the eccentric Osgood shines comedically –especially in “Fly, Mariposa, Fly” (which has a Mexican –south of the border flair --).

DeQuina Moore as Sweet Sue practically steals this ensemble-rich show with-rich, crisp comic timing and slow burns. Moore’s physical command of the stage and quick reactions are triumphant. (The role is somewhat reminiscent of Mama Morton from the hit musical Chicago).

Choreography by Casey Nicholaw is incredibly well-integrated with the story by Matthew Lόpez and Amber Ruffin. A major highpoint is the antic-ridden and rapidly choreographed chase scene reminiscent of the Keystone Cops (from Jerome Robbins’ High Button Shoes) and of the constantly slamming doors and missed cues in the hit play Noises Off.

The large ensemble dance numbers are choreographic miracles encompassing choreographed tap routines of precision, a tap dancing trio, tap dancing bellhops, and stylistic forays into foxtrots, waltzes, quickstep, and Charleston. These routines are vividly and innovatively choreographed by Mr. Nicholaw as if he is dipping anew into a cinematic reverie from Busby Berkeley or Rogers and Astaire. “Some Like it Hot” and “Baby, Let’s Get Good” are jaw -dropping marvels of choreographic zest and brio.

Shout-outs to the stalwart dancers and singers who constitute the Society Syncopators and the gangsters, porters, and bellhops.

Incredible art deco scenic design of the hotel and nightclubs is by the talented Scott Pask. Decorative lights drop from the rafters. (An amazing train scene reminded me of the train scene design from the musical On the Twentieth Century).

Costumes by Gregg Barnes are dazzling-- from sequined gowns to bellhop outfits to tailored suits.

Lighting by Natasha Katz is constantly stimulating and exciting.

For a musical journey into total theatrical escapism, do not miss Some Like it Hot! This production is the model of sophisticated and frothy escapism at its best.

Running Time: Two hours and 40 minutes with one twenty-minute intermission.

Some Like it Hot runs through December 7, 2025, at The National Theatre located at 1321 Pennsylvania Avenue, NW, Washington, DC, 20004.