In 1959, screen impressario Billy Wilder, the legendary writer/director/producer, on a roll with some of the most successful and brilliant films every on his resume, including classics like Double Indemnity, The Lost Weekend, Stalag 17, Sabrina, and his magnus opus Sunset Boulevard, released the manic drag comedy Some Like It Hot, a comic masterpiece (based on a 1935 French Film, Fanfare of Love) that 65 years later still resides at the top of many critics list of the greatest films ever, with several polls rating it the best comedy film of all time. The classic story centers around Joe (Tony Curtis) and Jerry (Jack Lemmon). two Chicago nightclub musicians who have the misfortune to stumble upon a gangland massacre and, in order to escape town, don dresses and makeup to join an all-girl band and hitch a ride on their tour in disguise. Everything goes fairly according to plan unti the arrival of bombshell Sugar Kane (Marilyn Monroe), a sultry singer who struggles with alcohol and tardiness, causes complications and friction between the pair.
In 1972, the movie had already been adapted into a Broadway musical with a score by the master of big songs Jule Styne (Gypsy, Funny Girl) and Bob Merrill (Funy Girl) under the title Sugar. Twenty years later, the show was reworked and rebranded under its original title, which caused some confusion when another production with the same name was announced fifty years later, with a book by Matthew Lopez (The Inheritance, Red, White, and Royal Blue) and Amber Ruffin (new book for The Wiz) and a fresh new score by Marc Shaiman and Scott Whitman (Hairspray, Catch Me If You Can, Smash).
The 2022 production, predicted to be the hit of the season, was a mixed bag of critical response but lacked an audience, running a mere year. Bad timing played a role, premiering on the heels of critical condemnation of other “dated men-in-a-dress” adaptations of classic hit movies Tootsie and Mrs. Doubtfire, which now translates into “transphobia” somehow in some circles. While Shaiman and Whitman’s score gained almost univeral acclaim, Lopez and Ruffin’s heavy-handed adapted book came under fire from movie purists, justifiably, for straying too far from the story and incorporating too many social issues on one hand, and a hyper-liberal faction, unjustifiably, saying it continued to promote transphobia on the other. An overly aggressive (almost angry) albeit Tony winning performance by trans actor J. Harrison Ghee as Jerry/Daphne that was in direct conflict with the memory of Jack Lemmon’s whimsical portrayal didn’t help. It was either the best new trans-friendly show in town or another distressing man-in-a-dress comedy depending on who you talked to. Mixed with the usual mass cancellations due to Covid related illnesses, the Broadway run ended a severe, forgettable disappointment.
However, with a mere two years distance and some wise directorial and casting choices by Dirctor/Choreographer Casey Nicholaw (mostly in the perfect casting of the jubilant Tavis Kordell in the role of Jerry/Daphne) that softened the sharp edges and focused the story a little better, and this resulting national tour is a fun, bouncy romp that is more in the spirit of Billy Wilder’s perfect film.
Purists will still find fault in Lopez and Ruffin’s heavy-handed book that struggles to jam in trans issues, racism, sexism, xenophobia and other unrelated issues added just to make political statements (if anyone saw Lopez’s Tony Winning The Inheritance, a two-part, seven hour gay adaptation of Howard’s End, you have an idea how pretentious and self-important his writing can be, intending his work to be the next Angels in America). Making Jerry an Africa-American character just to show the racism of the 30s, encountering resistance in getting hired in a white-only club just adds 15 extra unecessary minutes to a story that is not about that. The same with making Joe E. Brown’s lovable eccentric millionaire Osgood Fielding III, here a closeted Latino on his mother’s side has absolutely nothing to do with the story except to give every last character a dual identity of some kind (another unnecessary ten minutes of unnecessary exposition added to the show, slowing it down from Nicholaw’s brisk pace). There’s even a number, “Zee Bop”, that is added when a rude delivery man tries to short Sue, highlighting sexism all women go through, in case you thought there weren’t enough issues taken on here. There are just too many isocial injustices crammed into one story that one of the critiques of the New York production asked, “What does this show want to be?” Justifiabley so. When Wilder’s as-always razor sharp screenplay still zings with fast one-liners, great sight gags, and fun chase sequences, and upon recent viewings through the eyes of today’s hyper-sensitive gaze on all issues gender-related, still holds up as decades ahead of its time in the way costar Jack Lemmon embraces the fun and freedom of his alter ego Daphne. Fortunately Nicholaw’s skilled direction, Kordell’s affectionate performance embracing Daphne, and Shaiman and Whitman’s lively swing score save this national tour from that fate.
Tarra Conner Jones gets the evening off to a rousing start as bandleader Sweet Sue, when she delivers the opening prohibition anthem “What Are You Thirsty For?”, which sets the bar (no pun intended) for the evening with an amazing jive dancing, bathtub gin joint production number. Jones plays Sweet Sue as if she were the love child of Cab Calloway and the incomparable Nell Carter with impeccable comic timing,and she’s the life of every scene and number she’s in.
Edward Juvier as Osgood Fielding, the sweet-natured millionaire who is enamoured with the enchanting Daphne, literally steals the show with his jubiliant, exhilarating production numbers and general amiablility, a character who’s a breath of fresh air in the issue-packed book. Not just congenial and engaging, his dance numbers are deceptively athletic, filled with exhuberant jumps and hops to any physical level available. His introduction, “Poor Little Millionaire” is a memorable entrance, but he excels in the second act opener “Let’s Be Bad” (a number Shaiman lifted from his tenure on Smash, ironically written for the Marilyn Monroe-within-a-show musical Bonbshell, a showcase for Megan Hilty’s Monroe having her much documented troubles, tantrums, and meltdowns on the set of Some Like It Hot). Juvier and Kordell profit from inheriting it here.
In the Tony Curtis role of Joe/Josephine, Matt Loehr is the comic straight man in the team (again, no pun intended), and he finds more humor in the role than either Curtis or Christian Borle in the original cast. His Josephine is not the sophisticated beauty of Curtis’ invention, but the comical butt of Sweet Sue’s comments about her age and looks (trigger warning: man-in-a-dress jokes incoming). Loehr takes on an extra level in this comedy of duality with a third persona. Besides Joe and Josephine, he also impersonates a German screenwriter (whose suitcase he pilfers for men’s clothing) to woo Sugar, and his manic energy as he vigorously toggles between the three is impressive. He also delivers a great 11:00 musical soliloquy on the subject of negotiating and balancing the three alter egos during “He Lied When He Said Hello” with wonderful insight.
Tavis Kordell in Jack Lemmon’s iconic role of Jerry/Daphne is an utter delight. Thankfully so much brighter and positive and lovable than his Tony winning predecessor, Kordell is a Daphne you can root for, not one who preaches at you. With a voice that soars into alto power notes and feet that mesmerize when he taps (which is virtually ever number), we enjoy them exploring Daphne as much as they do. Although surrounded by solid cast of costars, Kordell is the glue that holds this show together and ensures it works. Plus the visual sight of an imposing approximate 6’4” Daphne towering over all her bandmates as well as her adoring paramour is another layer of comedy. And if all that was not imporessive enough, they upped their game an additonal level with their 11:00 showstopping torch song “You Coulda Knocked Me Over With a Feather” (completed by the phrase “the lady that I’m loving is me”), where Daphne is exhilarated by Osgood’s proposal and the joys and freedom that being a woman have provided her.
Perhaps the most questionable decision in creating this musical is why would one take a piece that is so closely ingrained with the vulnerable, seductive mystique of the legendary Marilyn Monroe and then go to such extremes to distance itself from her persona, that lingers over the show despite trying to reinvent the characer. Today’s feminist standards seem intent on erasing “weak women” from stories. But that decision already backfired when they felt the need to replace the Oscar Winning Jessica Lange’s character in the totally misguided Tootsie with the same prototype as Lopez and Ruffin did here, and it is entirely unfair to the actor portraying her to have to bear that uncalled-for weight. The problem is no matter how hard the stunning Leanda Ellis-Gaston tries, the ghost of Monroe constantly lingers over her. Anyone who’s seen the movie can’t help but hear Monroe’s breathy, enchanting delivery. Note I don’t fault Ellis-Gaston, who has a powerful voice and is engaging and endearing on her own, but Lopez and Ruffin handicapped her trying to make yet another feminist political statement. As a mater of fact, in addition to her grace and talent she brings to this performance, I will give Ellis-Gaston special credit for her exceptional professionalism when five numbers into the show and only measures into her first solo, the mics popped and the entire sound system went down. Unfettered, Ellis-Gaston stepped up and kept singing unamplified in a voice that was still strong and clear. I’ll grant you Monroe couldn’t have done that.
Director/Choreographer Nicholaw has a tighter hand over this cast than his New York one, and his approach to the humor is better balanced and controlled rather than pandering to the superior attitudes of New York. But his biggest accomplishment is his creation of one of the best chase sequences ever staged in musical theatre history, a funny and clever 11:00 romp executed only with a simple set of four doors and a cast of game participants that create a flawless set piece. But it his Tony Award Winning Best Choreography, as always, that is exceptional and holds the audience in his thrall. Featuring the most exhuberant tap numbers and high-kicking jump jive swing dances in a long time 5 (maybe ever), it’s the biggest, most energetic dance show since 42nd Street took to stage 45 years ago.
Shaiman and Whitman are one of the most dependable musical teams in recent Broadway history, and their iconic score to Hairspray remains one of the most glorious scores of this millennium, one flawless high energy number after another with the most clever and inspired lyrics since Baltimore’s great Howard Ashman, who was gone way too soon. Their work here is only a little shy of that career defining high, but they give Nicholaw plenty to work with in energy, spirit, and big old-time jazz era arrangements. Their score is the creative high point of the show, reeiving a boost from Charlie Rosen and Bryan Carter’s Tony Award Winning Best Orchestrations
Visually, Scenic Designer Scott Pask gives us a glorious art deco paradise that takes is from Chicago gin joints to trainstops across the midwest, to a glamorous San Diego hotel to a quaint Mexican hideaway with lots of chrome and eye popping décor. Lighting Designer Natasha Katz takes us on that same trip but with different moods to highlight the seedy Chicago nightlife, the grandeur of Southern California, and the romantic atmosphere of the Mexican cantina and a nautical romantic trip abord Osgood’s borrowed yaght. Greg Barnes’ Tony Award Winning Best Costumes are a great representation of the best of the jazz era from dayware to dancewear to performance costumes for Sweet Sue’s Society Syncopators. Bright colors and silvery shimmer abound.
Brian Ronan’s Sound Design was put to the test at this performance, when the aforementioned sound system went slient. Ellis-Gaston gamely tried to go it alone, but the produciton crew stopped the show and cleared the stage while some hero in the sound booth miraculously got things back on board after about 10 minutes to complete the show with perfect sound.
As I stated, maybe to death, this show in New York was too much, too scattered, and too preachy to appreciate all its good qualities. It was a show I desperately wanted to love, and should have, but couldn’t find a way to embrace. So imagine, how pleasantly surprised I was to find that Director Nicholaw has revisited this piece and, with the aid of this better, more likable cast, was able to negotiate the heavy-handed, issue-jammed, problematic book and deliver a crowd-pleasing, foot-tapping, rip-roaring prohibition era tale of self-exploration that left me feeling closer to the way I feel when watching Billy Wilder’s perfect, iconic movie. Like Daphne, You Coulda Knocked Me Over With a Feather. So What Am I Thirsty For, you may ask? Another round of Shaiman and Whitman’s exuberant score performed by an incredible and mega-talented cast. Indeed Some Like It Hot, and if that’s you, dance your way down to the Hippodrome for another too short week of performances.
Photos courtesy of Matthew Murphy
The show runs 2 hours and 45 minutes with a 15 minute intermission.
Some Like It Hot runs through May 11, 2025, at the Hippodrome Theatre in the France-Merrick Performing Arts Center at 12 N. Eutaw Street. For tickets call the box office at 410.752.7444. or purchase them online.