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Regional Reviews: Phoenix Some Like it Hot Also see Gil's reviews of The African Company Presents Richard III and Is There Life After High School?
Set in early 1930s America, the story follows musicians Joe and Jerry, who go on the run after witnessing a mob hit. Disguising themselves as women, they join an all-female band and head to California. Along the way, Joe, now "Josephine," falls for the glamorous singer Sugar Kane, while Jerry, as "Daphne," navigates unexpected romantic attention from wealthy suitor Osgood Fielding III. As the two try to keep their identities hidden, mistaken identities, slapstick humor, and a heartfelt message of self-discovery unfold. While the original 1959 film starring Jack Lemon, Tony Curtis, and Marilyn Monroe remains a comedy classic, and the musical's plot adheres fairly close to the film script, this stage adaptation updates the story with modern sensibilities, making it more inclusive and heartfelt, and also changes the film setting of the Roaring '20s to the Depression-era early 1930s. The score (music by Marc Shaiman and lyrics by Scott Wittman and Shaiman) blends jazz influences with Broadway flair and has a few toe-tapping musical numbers, though it never rises to the heights of their scores for Hairspray or Catch Me If You Can. Also, the second act opener, "Let's Be Bad," is recycled, with a few lyric changes, from their song score for the TV show "Smash"; it seems somewhat odd that they'd reuse a song that's fairly well known instead of writing a new one. The book by Matthew López and Amber Ruffin fleshes the film characters out while adding depth and many new comic bits to the storytelling. The film was adapted previously for the stage as Sugar, in 1972, but López and Ruffin take the storytelling and character development even further, especially by incorporating race and identity issues in how Jerry/Daphne is depicted and by beefing up the role of Osgood so he's more than just the comical kook and a cameo role as he was in the film. Sweet Sue is also given much more to do. While the end result is a fresh, fast-paced show that honors its source material while giving it a more contemporary spin, you do have to take some of the book changes with a grain of salt. The story is set in the 1930s and the characters of Sugar, Jerry, and Sweet Sue are now Black (and Osgood now has Mexican roots, though you may miss the quick statement about that). While the book does specify some of the racial issues they'd be dealing with, such as being hired in a whites-only nightclub, that issue isn't fully developed. Instead, the group's tour destination has been changed from Florida to California, as if to say that by not traveling into the southern states it's no longer an issue. The show also never really makes any mention of the potential issues an integrated couple or a gender-fluid person of color in a relationship with a white man would deal with in 1930s America. It gives you a feel-good, happy ending but never truly answers the many questions that the racial and identity changes to the characters bring up. The national tour cast shines across the board. Joe and Jerry, played with impeccable comedic timing and vocal prowess by Matt Loehr and Tavis Kordell, respectively, anchor the show with their hilarious and heartfelt performances. Loehr is great, with wonderful facial expressions, and Kordell shines when Jerry realizes that he embraces Daphne as "the best part of me." The two are wonderful dancers as well and create lovable characters that realistically come across as life-long friends. Leandra Ellis-Gaston radiates charm and vulnerability as Sugar with a singing voice that soars. As Osgood, Edward Juvier steals scenes with his lovable and joyous personality, while Tarra Conner Jones as Sweet Sue, the bandleader, adds sass and a commanding presence to her scenes, although her enunciation could be improved as many of her lyrics are lost. The ensemble delivers winning performances with incredible dancing that brings the jazz-age setting to life with boundless energy. Casey Nicholaw's direction ensures the comical scenes pop while the dramatic ones resonate. Nicholaw's Tony-winning choreography is a true highlight, with electrifying and fresh tap routines that showcase the talent of the cast. The tour production's creative elements are equally impressive. Gregg Barnes' Tony-winning costumes are lavish and period accurate, the scenic design by Scott Pask is simple but still elegant and playful with nice art deco touches, and Natasha Katz's lighting enhances the fast-paced action. The music direction by Mark Binns brings a lovely sound to the singing and the playing by the small but excellent sounding orchestra. Some Like It Hot is a laugh-out-loud musical that delivers classic comedy with a fresh, modern touch and an important message about self-discovery. With its winning performances, high caliber production values, and feel-good energy, the national tour production is both nostalgic and refreshingly new. Just don't pay too much mind to the issues the plot brings up that it never truly resolves. Some Like it Hot runs through February 16, 2025, at ASU Gammage, 1200 S. Forest Avenue, Tempe AZ. For tickets and information, please visit www.asugammage.com/orby or call 480-965-3434. For information on the tour, visit https://somelikeithotmusical.com. Music: Marc Shaiman Cast: |
