Some Like It Hot: A Tip Tap Triumph That “Takes It Up a Step!” - by Jed Stahlback

As the curtain rises and smooth jazz fills the Orpheum Theatre, Some Like It Hot whisks you back to a golden age of comedy, music, and extravaganza. It’s a show that oozes the energy of old Hollywood while giving a fresh twist on a classic comedy. Based on the 1959 film, the core plot remains: two musicians, Joe and Jerry, disguise themselves as women and join an all-female band to escape the mob. However, the musical modernizes the characters, motivations, and plot points, turning it into a hilarious and heartfelt journey through friendship, love, and, most importantly, acceptance in 1930s America.

Having seen this show on Broadway, I was eager to see how the national tour would hold up. After all, the Broadway cast recording was my top album on Spotify last year, so I had high expectations—and this production did not disappoint.

Matt Loehr’s portrayal of Joe/Josephine was a standout, blending comedic charm with genuine heart. His physical comedy and seamless transitions between Joe, Josephine, and Kip showcased his versatility, especially in numbers like “He Lied When He Said Hello.” While Loehr’s performance shone, Christian Borle’s script adjustments, as mentioned in the playbill, also deserve recognition for adding humor and depth to Joe’s arc. Borle’s influence was particularly evident in fourth-wall-breaking moments, where sharp dialogue and impeccable comedic timing took center stage, which Loehr had mastered.

Tavis Kordell’s performance as Daphne was equally remarkable. Kordell brought an infectious energy to the role, fully embracing the comedic potential while delivering a thoughtful portrayal of a character navigating gender identity. His transformation into Daphne wasn’t merely a plot point device; it became a deeper exploration of identity, one that the original 1959 film ignored. In this adaptation, Daphne’s journey feels more genuine and empowered, evolving into something far more inclusive and resonant for a modern audience.

The show’s message of acceptance and self-discovery adds an important dimension. While the original film used cross-dressing primarily for laughs, the musical delves into themes of gender fluidity and expression, reflecting contemporary discussions about identity. Jerry’s journey into Daphne feels authentic and transformative, making the character’s arc not only a comedic plot twist but also a celebration of embracing one’s true self. By the end of the show, it’s clear that Some Like It Hot has become not only a story of survival but also a celebration of embracing who you truly are.

If you thought the story was breathtaking, just wait until you see Casey Nicholaw’s choreography. Numbers like “Dance the World Away” felt like an homage to old Hollywood musicals. Loehr and Leandra Ellis-Gaston (who played Sugar) moved with the grace and elegance of Ginger Rogers and Fred Astaire. The tap sequences were especially mesmerizing, keeping the audience at the edge of their seats. 

Marc Shaiman and Scott Wittman’s score remains a standout, capturing the essence of classic Hollywood while infusing it with modern flair. Their previous work on SMASH and Marilyn Monroe-inspired material shone through this production, particularly with the inclusion of “Let’s Be Bad,” a song originally in SMASH, that fit seamlessly into this production. 

Overall, Some Like It Hot continues to hold a special place in my heart. The national tour lived up to the Broadway production, with top-notch performances, choreography, and a score I can’t stop listening to. If you’re in Minneapolis and you like it hot, that’s exactly what they’ve got for you!