EVERYONE WILL LIKE IT HOT
It wouldn’t be a valid review to simply write, “I loved it!” a hundred times and ship it off to my editor. However, if you’re looking for a bottom line or a simple recommendation, that’s exactly what this review will come down to.
Leandra Ellis-Gaston and the company
Evoking the golden age of Broadway, Some Like It Hot—which opened last night at The Civic—is full of dazzling musical numbers, big laughs and a heartwarming message. From beginning to end, the national tour has it all. Matthew López and Amber Ruffin’s book is terrifically funny with one-liners aplenty, Marc Shaiman’s 17 big band, high-energy numbers are invigorating, and Scott Wittman’s lyrics—co-written with Shaiman—are catchy and entertaining (married couple Shaiman & Wittmann wrote Hairspray‘s score). Then, an incredible cast knocks it out of the park.
The company
The story in the 2022 Tony nominee for Best Musical is best known from Billy Wilder’s must-see film it’s based on, starring Tony Curtis, Jack Lemmon, and Marilyn Monroe. The film was groundbreaking for its time, featuring cross-dressing and an ending that hinted at sexual ambiguity. In fact, it was produced without approval from the Motion Picture Production Code, and its success is credited with helping to dismantle that code in the years that followed.
Matt Loehr, Leandra Ellis-Gaston, Tavis Kordell and the company
While retaining its Prohibition-era Chicago setting at the start, the stage adaptation differs from the film in a number of ways, pushing boundaries far beyond what would have been possible in 1959—including the addition of gender identity and mixed-race relationships (three of the leads are Black). Despite the laughter and feel-good nature of the production, the timing of this week’s performances made the cross-dressing theme in Some Like It Hot especially poignant. Strong, sustained bursts of applause followed several key moments of character insight—undeniably reflecting the audience’s response to a week in which the TransHater-in-Chief delivered daily blows to the trans community’s freedom of expression.
Tavis Kordell and Matt Loehr
Close childhood friends Joe and Jerry (Matt Loehr and Tavis Kordell) are gifted musicians, dancers, magicians, and more—willing to do anything to get on stage and make a few bucks. During a career slump, they nearly land their big break from mobster-turned-producer Spats Columbo (Devon Goffman), but by sheer bad luck, they walk into his office just as he commits a murder. Suddenly needing to flee town—and fund their escape—Joe hatches a plan: they’ll disguise themselves as women and join a California-bound all-female jazz band, led by the formidable Sweet Sue (Tarra Conner Jones).
Tommy Sutter, Jay Owens, Jamie LaVerdiere, and Devon Goffman
Jerry resists, but with no better option before the mob catches up to them, the duo quickly transform into “Josephine” and “Daphne,” joining the band as its new saxophonist and bassist. As they travel with the group, each undergoes unexpected emotional growth, though in very different ways. Their charade deepens their bonds with their bandmates and broadens their understanding of womanhood. A standout line from the show captures this theme perfectly: “The world reacts to what it sees. And in my experience, the world doesn’t have very good eyesight.”
Leandra Ellis-Gaston and Matt Loehr
Sugar (Leandra Ellis-Gaston), played by Monroe as a stereotypical “dumb blonde” in the movie, is here presented as a starry-eyed, potential superstar, perhaps the next Josephine Baker or Billie Holiday. Also, the stage show completely nixes the farcical subplot about Joe pretending to be Junior, the impotent heir to the Shell Oil fortune. Instead, Joe poses as Kip von der Plotz, a screenwriter from Austria, in a ruse that leads to a different outcome for the couple.
While the production certainly has its touching moments, make no mistake—it’s not heavy. Hot is far more comedy than drama, often leaning into broad humor, which is executed delightfully.
Tarra Conner Jones and the company
Ms. Jones sets the tone early, opening the show with “What Are You Thirsty For?”—a jazzy number that immediately establishes the bootlegging years while assuring viewers that everyone knows where to find the speakeasies. If there’s one flaw in the production, it’s that much of the vocal burden rests on Jones’ powerful voice, which is reminiscent of the late, great Nell Carter. However, in her higher range, many lyrics are difficult to make out, making the opening number more followable through context than clarity. This issue persists sporadically throughout the show but is most noticeable in that first song. That said, Jones delivers a stellar performance, infusing Sweet Sue with fiery charisma and impeccable comedic timing, earning one of the night’s biggest laughs with nothing more than a mere physical gesture when closing a door.
Edward Juvier and the company
While relishing the journeys of all the characters, a new addition in Act I emerges as an unexpected standout—Osgood Fielding III (Edward Juvier), who manages San Diego’s own Hotel del Coronado when the band arrives for a gig (used in the movie as the fictional Seminole Ritz resort in southern Florida. the hotel is now the second act setting). Though wealthy and well-connected, Osgood isn’t a posh aristocrat—instead, he’s a lovable sweetheart who longs for love above all else.
In no time, we find ourselves rooting for Osgood just as much as any of the main characters, especially as he becomes instantly smitten with the cross-dressed Daphne. Juvier infuses the role with both sweet empathy and vivacious energy, making Osgood a true highlight.
The company
The greatest hero of this bang-up, tap-filled production is director and choreographer Casey Nicholaw, pulling double duty with remarkable precision. Throughout, I was in awe of the tight, dynamic dance numbers—especially the impeccably synchronized “Let’s Be Bad!” (originally written for the TV show Smash).
Devon Hadsell
But nothing could have prepared us for the breathtaking fusion of choreography and lightning-fast blocking in “Tip-Tap Trouble.” In this show-stopping sequence, nearly the entire cast and ensemble take part in a Keystone Kops-style chase, with six wheeled doors in constant motion as performers dart through them in every direction. The sheer complexity of the staging is mind-boggling—how anyone even conceived such intricate blocking, let alone rehearsed it to perfection, is beyond imagination. A single misstep could have triggered a domino effect, yet the execution was flawless. It was a true visual delight.
On a personal note, what a pleasure it was to celebrate my 200th review for Stage and Cinema with one of Broadway San Diego’s finest productions in years. My deepest appreciation to everyone involved for making this highly recommended show such a fantastic night.
Edward Juvier, Tavis Kordell and the company
photos by Matthew Murphy for MurphyMade
Some Like It Hot
national tour
presented by Broadway San Diego at Civic Theatre, 1100 Third Avenue
for tickets (beginning at $44), call 619.564.3000 or visit BroadwaySD
ends in SD on Feb 2, 2025
tour continues; for dates and cities, visit Some Like It Hot
