Review: SOME LIKE IT HOT at Oprheum Theater

There’s nothing quite like the thrill of experiencing a dazzling show fresh from the heart of Broadway, now on tour! Don’t get me wrong—I’ll happily queue up for another round of “Jersey Boys” or “Mamma Mia!”—but there’s something magical about the sparkle and pizzazz of a fresh production that reaffirms and reignites our love for musical theater. Enter “Some Like It Hot”—a show brimming with charm, wit, and energy that will leave you buzzing long after the final curtain. Playing now through January 26 at San Francisco’s Orpheum Theatre, this touring gem is an absolute must-see. Don’t wait—grab your tickets today and let the toe-tapping magic begin!

Book writers Matthew López (playwright, director, and screenwriter) and Amber Ruffin (comedian, writer, and actress), who set their 2.0 version of "Some Like It Hot" during the Great Depression toward the end of Prohibition, had no small task in writing a musical adaptation of the 1959 classic crime comedy film by Billy Wilder. They easily capture the campiness and fun of the movie, while seamlessly introducing racial tensions and gender fluidity.  Set Designer Scott Pask’s scaled touring sets are beautifully rendered Art Deco masterpieces, while Gregg Barnes’s resplendent costumes steal the show.

As in the original film, the show follows Joe (Matt Loehr) and Jerry (Tavis Kordell), two down-on-their-luck Chicago jazz musicians who have the misfortune of witnessing a mob hit by Spats Columbo’s gang. Desperate to escape before Spats (Devon Goffman) and his henchmen find them, they disguise themselves as women (Joe becomes “Josephine,” and Jerry becomes “Daphne”) and join an all-female band led by Sweet Sue (Tarra Conner Jones) that will be traveling to San Diego by train. Hijinks ensue, as expected, but with fresh twists and a modern sensibility.

Tarra Conner Jones delivers a powerhouse performance as Sweet Sue, commanding the stage with a voice that raises the roof. As a black woman, she’s frustrated by the systemic inequities of her time, so she forms an all-female integrated band to be her own boss, breaking away from Speakeasy owners who leave her to take the fall during raids.

Joe and Jerry’s transformations as Josephine and Daphne, respectively, are compelling. Matt Loehr (Joe/Josephine) captivates as he evolves from a self-serving jazz musician to someone capable of genuine love and vulnerability. Meanwhile, Tavis Kordell (Jerry/Daphne) shines, bringing grace and poignancy to a journey of self-discovery and self-acceptance. Daphne’s defining moment—declaring, “You can call me Jerry, or you can call me Daphne—just make sure it’s respectful”—resonates deeply, underscoring the show’s commitment to inclusivity.

In López and Ruffin’s adaptation, Leandra Ellis-Gaston as Sugar, who is black and the band’s lead singer, brings depth and determination, replacing Marilyn Monroe’s exaggerated sexuality with a more grounded, richly layered portrayal. Sugar’s resilience and drive add emotional weight to her ballads, making her journey all the more poignant.

Edward Juvier, as the Mexican millionaire Osgood, surprises with a heartwarming blend of humor and eloquence. His open-hearted acceptance of Daphne offers a refreshing and modern twist on the original story, emphasizing unconditional love and pointing us to a new way forward of accepting people just as they are.

The musical’s score, composed by Marc Shaiman, with lyrics by Scott Wittman and Shaiman (“Hairspray,” “Smash”), sparkles with wit and vitality. This dynamic duo blends toe-tapping jazz numbers with heart-melting ballads, capturing both the humor and the humanity of the story. The music lingers with you, ensuring the songs stay alive in your heart long after the theater lights dim.

Casey Nicholaw (“The Book of Mormon,” “Aladdin”) directs and choreographs with brilliance, infusing the production with pure joy. His choreography, a masterclass in exuberance, culminates in a spectacular finale featuring a dazzling ensemble and a show-stopping number. With flurries of tap dancing, slamming doors, and infectious energy, it’s a breathtaking moment that will leave audiences cheering in their seats.

As already noted, this production doesn’t shy away from tackling deeper themes. López and Ruffin reimagine the comedic premise of men in drag as a platform to explore gender fluidity and identity with tenderness and high humor. While Daphne’s journey is central, every character undergoes a transformation, shedding preconceived notions and embracing authenticity.

As the show builds to its triumphant conclusion, the joy is palpable—an electric celebration of individuality, friendship, love and acceptance that is especially welcome in the uncertain times we live in today. In the face of a potentially more conservative political climate, “Some Like It Hot” stands as a beacon of hope. The arts have always been a refuge, a space where truth and beauty flourish against the odds. This show exemplifies that spirit, offering not just an evening of spectacular entertainment but also serves a reminder of our shared humanity and the courage it takes to live authentically and to defend the rights of everyone to have the opportunity to do so as well.

So, what are you waiting for? Step into the glitz and the glamour, let the band strike up a tune, and prepare for a night of Broadway magic that will leave you humming and tapping your feet all the way home!

SOME LIKE IT HOT
Now thru January 26
BroadwaySF
Photo by Matthew Murphy

Photo Credit: Matthew Murphy

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