Book-in-Motion

Some Like it Hot

North American Tour / Segerstrom Center for the Arts

Director & Music Director: Casey Nicholaw

Music Director: Mark Binns

Run Time: 2 Hours and 25 Minutes (+ 20 Minute Intermission)

Chicago is Too Hot to Handle!

What happens when you mix jazz, booze, comedy, and a few gangsters in Prohibition-era Chicago? You grab a wig, a dress, and a train ticket to California. At least, that was the survival plan for Matt Loehr (Joe / Josephine) and Tavis Kordell (Jerry / Daphne) in the touring production of Some Like it Hot, which brought a sizzling burst of Broadway energy to Segerstrom Center for the Arts. 

First debuting on Broadway in 2022, Some Like it Hot introduced a modernized take on the 1959 movie starring Marilyn Monroe. After witnessing a gangland murder, two down-on-their-luck musicians disguised themselves as women to join an all-female jazz band. But what began as a getaway turned into an exploration of identity, love, and the courage to live authentically. Yet, this was all wrapped in the glitz of a tap-happy, horn-blaring spectacle.

A Seasoned Cast on Fire

As the cast’s leads, Some Like it Hot starred Matt Loehr and Tavis Kordell as Joe / Josephine and Jerry / Daphne. Loehr delivered a natural performance of Joe / Josephine by seamlessly switching between the two personas with a quality nod to Rob McClure’s Mrs. Doubtfire Musical that premiered on Broadway in 2019. Without skipping a beat, Loehr’s comedic timing landed with precision, especially when juggling yet another disguise: “Kip,” a flamboyant Austrian aristocrat. His presence with each character anchored the show, while his rapport with Tavis Kordell kept the humor crisp and the pace lively.  

Tavis Kordell, meanwhile, made his national tour debut and proved a dynamic match as Jerry / Daphne. Though Act I took a moment to warm up from switching between the different characters, Kordell emerged in the second half by fully embracing Daphne’s grace and spirit. Ultimately, Kordell met the challenge of commanding the stage alongside a seasoned, Broadway cast. His tap sequences, particularly during the rapid-fire ensemble routines or synchronization with Loehr, earned spontaneous applause from the audience, a testament to his stamina and charm. 

And then there was Leandra Ellis-Gaston, who serenaded the audience as Sugar. With a voice that melted between passionate jazz and grounded ballads, Ellis-Gaston brought both rebellion and vulnerability to the role. Her renditions of “A Darker Shade of Blue” and “At the Old Majestic Nickel Matinee” evoked the smoky resilience of a woman dreaming beyond the limits of her time. Aided by the costume and hair teams’ attention to 1920s detail, from sparkled gowns to sleek bobs, she embodied an era without feeling trapped by it. 

Cool Start, Cool Finish, Hot Interlude

The show opened and closed with a slow simmer but burst into full flame midway through Act I. As a standard musical with dance breaks and songs that temporarily leave the scene, Director and Choreographer Casey Nicholaw made clever interventions, particularly with the dancing, to control the chaos. Instead of simply allowing the audience to enjoy the dance numbers as a scene itself, everyday movements such as walking, running, and ducking through different doors were all put to time. In the culminating chase sequence to dodge the gangsters, Nicholaw transformed the scene into a tap-driven choreography that was pure Broadway gold among the gangsters, musicians, and police officers in unison. 

Requiring multiple on and off-screen appearances and wardrobe changes resulted in strict cohesion between the actors and musicians, but delivered entertaining, comedic moments. If anything, the finale arrived too quickly. After so much dazzling build-up, the resolution was a touch too abrupt. Yet, it was a minor weakness in an otherwise exciting production.

The Roaring Twenties, Reimagined into the 1930s

With multiple different backdrops of the bus, stage, and hotel, one theme emerged: Visually, Some Like it Hot captured the jazz-age exuberance of the 1920s while quietly echoing the social transformations of the 1930s. The Roaring Twenties were still sizzling with short bobs and jazz music but without the flapper dresses. Behind the glitter and brass instruments lay a modern interpretation during the Prohibition Era. Through a diverse cast with women driving the narrative, a celebration of identity felt entirely current. The show did not simply recreate nostalgia from the era or the 1957 movie, it reframed it.

Removing the Mask

While initially wanting to conceal identities, Some Like it Hot ultimately challenged barriers by fully embracing one’s potential. Jerry looked internally to fully realize that Daphne wanted to break free from their masculine chains. Though it was unclear whether Edward Juvier (Osgood) knew Daphne was previously Jerry. Meanwhile, Matt Loehr (Joe / Josephine) willingly risked his career and life to show who he really was for love. Leandra Ellis-Gaston was not going to have Sugar live a small life; instead, she reached for the stars and drove across the country to live out her potential. 

With its tap-heavy choreography, sharp performances, and infectious energy, Some Like it Hot ultimately delivered a roaring, razzle-dazzle good time. The performance honored the source material while carving out its own rhythm through the tap numbers and actors who feed off each other for a comedic presence. This musical has many funny punch lines that drive the narrative forward with sentimental moments sprinkled throughout. Catch it soon before it dances out of Segerstrom Center on October 19th!