Some Like It Hot: A True Tip-Tap Treasure - by Sarah Zyskowski

One of the better screen-to-stage adaptations of its time, Some Like It Hot is a must-see performance that recently danced its way to the Orpheum Theatre. Sending the audience back in time to the infamous Prohibition, Some Like It Hot follows two musicians on the lam who disguise themselves as ladies and join an all-female band. Based on the classic 1959 film, this show brings its audience on a chaotic musical odyssey across the country filled with dazzling choreography, sharp humor, expressive costumes, and a deeper dive into gender identity.

What stood out to me right away was the sheer talent these actors expressed through the power of dance. The “Tip-Tap Twins” Joe and Jerry swept the audience off their feet almost immediately with the intricate tap number “You Can’t Have Me (If You Don’t Have Him)” bursting with energy and excitement. Perfectly in unison, the satisfyingly crisp sounds of Matt Loehr and Tavis Kordell’s outstanding tapping talent set the stage for this dance-heavy performance. 

In 2023, Some Like It Hot won the Tony for Best Choreography by Casey Nicholaw, and the national tour brought to Minneapolis showed its audience exactly why, with impressive numbers like the elaborate hotel chase scene, “Tip Tap Trouble.” This 11-o’clock number was a spectacle, with perfectly orchestrated entrances and exits, combining noteworthy tap techniques, moving set pieces, and comedic acting by both the show’s starring roles and the hilariously talented ensemble to keep the audience mesmerized and awestruck by the captivating perfection of this show’s choreography. 

Truly embodying the spirit of Some Like It Hot, costume designer Gregg Barnes kept true to elements of 1930s styles to send the audience back in time, yet added his own sparkly flair to each unique design. My personal favorites were the designs for Leandra Ellis-Gaston’s character, Sugar, whose stunning arrangements had a cohesive theme that captivated her character’s romantic yet rebellious mood. Another standout was the progression of Jerry-to-Daphne’s costumes. As Kordell’s character became more confident in her feminine identity, Daphne’s outfits became brighter and bolder, a noteworthy detail that warmed my heart. As a whole, Gregg Barnes’ costumes for Some Like It Hot were sparkling with originality and eccentricity, enhancing each character’s personality and development.

Though the comedic timing of the show’s starring dynamic duo, Loehr and Kordell, had me cackling and smiling, and the immaculately executed choreography and stunning costumes left me speechless, this performance stuck its Minneapolis audience with a message more important than any tap sequence or sparkling dress. The modern retelling of this story brings a more nuanced focus on the multifaceted realm of gender identity than the classic movie. Edward Juvier’s ballad, “Fly, Mariposa, Fly,” brought tears to my eyes with the sheer beauty and authenticity of the encouragement and support toward Daphne as she blossomed into her newfound identity and spread her shimmering wings. 

In today’s world, where hatred and intolerance spread like wildfire, Some Like It Hot brings a refreshing perspective to the world of gender identity through the power of song and dance, and a celebration of accepting your authentic self, both touching the hearts of each member of its audience.