‘Some Like it Hot’ sizzles as it tours Florida | Theatrical Musings
Photo by Matthew Murphy
Tavis Kordell as Jerry/Daphne plays opposite to Matt Loehr’s Joe/Josephine in the equity touring production of Some Like it Hot.
By AARON KRAUSE
No offence to Marilyn Monroe, but her likable character in the 1959 classic comedy film Some Like it Hot is still little more than a stereotypical “dumb blonde.”
Contrastingly, in the 2022 faithful stage musical adaptation of the beloved movie, the aptly named Sugar Kane is a sweet and ambitious potential Hollywood superstar. We care for her not only because she is nice and talented but also thirsty for the kind of success Black people like her could only dream about during segregation.
Certainly, Sugar Kane is a better developed character in the stage show. And that is one of the ways in which the Broadway musical, which is touring the country in a vivacious and believable but imperfect equity production, improves upon the funny and memorable movie.
Overall, librettists Matthew Lopez and Amber Ruffin, composer Marc Shaiman, and co-lyricists Shaiman and Scott Wittman have reimagined the show so that contemporary folks can appreciate it more. But at the same time, the live show, like the movie, will transport you to the late 1920’s/early 1930’s.
Audiences living in and visiting Florida have less than a month to catch the touring production before it leaves the Sunshine State. It runs through Sunday at the Adrienne Arsht Center in downtown Miami before heading to Tampa. Performances last from Dec. 10-15 in that city’s Straz Center before the production plays Orlando’s Dr. Phillips Center from Dec. 17-22. To wrap up its stop in Florida, the show moves to Artis-Naples in Naples for a several-day run from Dec. 24-29.
Hopefully, by the time you read this, audiences can fully understand what the performers are saying and singing. On opening night in Miami, I had no problem hearing them but left wishing that all the lyrics and lines of dialogue were comprehensible. Certainly, with what audiences pay to experience Broadway caliber shows, they deserve to hear and understand the performers.
Perhaps you have heard of the much-loved film, which starred Monroe, Tony Curtis and Jack Lemmon. In fact, many consider the movie one of the greatest films of all time.
In the film and the stage adaptation, the initial setting is Prohibition-era Chicago. There, two musicians, Joe and Jerry, work for a speakeasy (an establishment illegally selling liquor) run by a mobster. But after they witness a mob hit, the men flee.
After learning about an all-female swing band headed to California by train (Florida in the film), Joe and Jerry decide to dress as women and join the music group. Its deliciously alliterative title is Sweet Sue and her Society Syncopators. Unlike in the movie, only Joe, as Josephine, falls for the band’s lead singer, Sugar. Meanwhile, Jerry, disguised as Daphne, finds that his mask is more than camouflage. In addition, it allows him to realize and experience his most authentic and complete self.
These days, shows in which men dress as women can be problematic depending on the context and intention behind the disguise. For instance, crossdressing can reinforce harmful gender stereotypes if it mocks or demeans women. Fortunately, that was not the case in the movie, and it is certainly not the intention of this stage musical adaptation. Rather, in the live show, Jerry finds that he is more comfortable living as a woman than as a man. Perhaps he even had an inkling up until this point that being female fit him better. As a matter of fact, maybe it just took dressing and living as a woman to make him fully realize this.
With all this in mind, the stage musical adaptation presents a contemporary understanding of gender identity. The live show is a celebration of everyone’s right to seek out and live as their most authentic self.
The musical, more so than the film, is also about acceptance, particularly when it comes to race. Indeed, in the movie, Jerry (Lemmon) is white, but in the live show he is Black.
At one point, Joe and Jerry seek employment as musicians with the Cheetah Club. At first, the hiring manager, despite being impressed with both men’s musical abilities, decides to only hire Joe; the boss is prejudiced against Black people. True, both men are eventually hired. But it still hurts, especially during today’s divisive times, to experience prejudice in any form.
In this touring production, at least on opening night in Miami, it was not clear when this moment of prejudice occurred. Again, perhaps better sound design would render more lyrics and spoken words crystal clear. Or maybe it is time for captions, especially in large theater spaces. In them, sound may not carry as well as in more intimate spaces. Chances are, I was not the only one in the opening night crowd who could not make out certain words. Chances are, at least a couple gasps would be audible following a moment in which a character demonstrates prejudice against minorities.
For the most part, though, the touring production of the live musical adaptation delivers. It is energetic, humorous, and some patrons, especially those who have reached a certain age, will recognize the musical style. The live show celebrates such Jazz age icons as Duke Ellington, Fats Waller, Cab Calloway, Jimmy Lunceford, Louis Jordan, Billie Holiday, Ella Fitzgerald, and Cole Porter.
Speaking of Porter, Some Like it Hot carries an escapist vibe similar to the one in Anything Goes. With its sometimes-farcical plot, the former musical may remind you of Porter’s popular show. But the musical now playing at the Arsht lacks truly memorable songs. And while Shaiman and Wittman’s musical numbers here are generally engaging, it can be hard to differentiate one from another.
Truthfully, you may not run to buy a cast album. Even so, you must admit that the lyrics are witty, clever, and even poetic. For instance, one of the characters, Osgood, sings, They say the Great Depression’s gotten everybody’s goat, but pops invented Root Beer, and it’s keeping me afloat.
Elsewhere in the show, lyrics such as the following reinforce the musical’s inclusive message. Black or white or Latin, Asian, Christian or Jew, It’s awfully nice to know we can all parlez-vous
Say ‘Zee Bap Zeh Bootalee Atta Feet Bam-Bam’ To any slippery snake who’s trying to make you less than you am.
The cast is generally first rate; its members prove to be true triple threats.
Matt Loehr imbues Joe/Josephine with plenty of charm and demonstrates strong chemistry with Tavis Kordell as Jerry/Daphne in numbers such as the duet “You Can’t Have Me (If You Don’t Have Him).” Loehr is also believable as a woman without resorting to stereotypes.
Kordell lends the more nervous Jerry convincing determination. And you sense that, once the character has settled into “Daphne’s” skin, he is more at ease as a woman.
Leandra Ellis-Gaston radiates sensitivity and sweetness without sentimentality as Sugar. In addition, you sense a genuine desire on her part to make it big in Hollywood one day. Certainly, your heart goes out to the character during Sugar’s solo, “At the Old Majestic Nickle Matinee.” In the song, Sugar recalls how watching movies in the theater was a transporting experience for her. In a heartfelt manner, she sings: Oh, but then one day Picture Palace opened. For a nickel you could dream there, day and night. But those who looked like me could only use the balcony. Like the movies, life could be that black and white.
Edward Juvier portrays eccentric millionaire Osgood Fielding III with unmistakable sincerity and resolve to find his true love. In addition, as Osgood, Juvier’s touching rendition of the poetic song “Fly, Mariposa, Fly” is one of graceful beauty.
Tarra Conner Jones, as Sweet Sue, is the first person we see and hear. Jones sets a vibrant tone from the outset and injects Sweet Sue with a larger-than-life vivaciousness. She is like an energetic ringmaster and never fails to command the stage. At times, Jones could infuse her performance with a little more nuance. Still, the performer is generally solid and you sense that Sweet Sue cares about her singers.
Speaking of the Society Syncopators, the performers who portray them blend with each other well as a group. And the actors portraying gangsters deliver performances featuring a blend of stylishness and toughness.
Generally, cast members possess strong and expressive voices, and they sing with vibrant accompaniment from a live orchestra. In addition, the triple threats deftly execute director/choreographer Casey Nicholaw’s varied dance moves, all of which help tell the story. From spins, kicks, lifts, and jumps, to nifty footwork for tap dancing, it’s a pleasure to watch these professionals move with grace and vigor.
Nicholaw paces the production well and guides the large cast with comic verve and attention to detail.
Behind the scenes, Scott Pask’s varied scenic designs of the show’s multiple settings are realistic, luxurious when necessary, and true to the period. Also, the set pieces easily glide on and off stage. This helps to ensure that the production flows with a cinematic-like ease.
Natasha Katz’s lighting design makes good use of color. And the designer expertly varies the intensity of the design according to the needs of a scene. For example, as the music rises, the lighting gets brighter and more colorful.
Gregg Barnes’ period-accurate costumes reveal information about the characters. And some outfits shimmer to match, for instance, Sugar’s sparkling personality.
What Are You Thirsty For is the title of one of the show’s songs. This much is certain: Those thirsty for a big, old-fashioned musical will find one here. It’s just a shame that we can’t understand each and every word that the talented performers utter.
IF YOU GO
WHAT: An equity national touring production of Some Like it Hot.
WHERE: The production runs through Sunday at the Adrienne Arsht Center, 1300 Biscayne Blvd. in downtown Miami. For other tour stops, and ticket information, go to https://somelikeithotmusical.com.
Photo by Matthew Murphy
Matt Loehr, Leandra Ellis-Gaston, and Tavis Kordell in the equity national touring production of Some Like it Hot.
