REVIEW: Some Like It Hot (National Theatre)
Some Like It Hot was my favorite musical of the 2022-23 Broadway season. It exemplified, in this era of stale ideas and sticking with familiar properties, that adaptations can work when given the right team. I mean, since Marc Shaiman and Scott Whitman already knocked one out of the park with Hairspray two decade prior, why not give them a go at another approachable film IP?
As one of the first shows I ever reviewed for this blog, I talked about its New York run as being fun and bright with great production value and performances (such as J. Harrison Ghee, who later won a Tony for their Jerry/Daphne). But how’s the tour hold up?
Book/Music
In the years since I wrote my initial review, I seem to have predicted things well: the score still didn’t stick with me. In fact, basically all of my feelings about this section from then are consistent, though I found the comedy ever-so-slightly tighter. One thing I will mention is that Osgood’s “reveal” about the characters seems to have been revised, or under-delivered in the tour, which significantly impacts the conclusion, in my opinion. (SPOILERS AHEAD)
In the Broadway production, I distinctly recall Osgood knowing all along that Daphne was not “herself” the entire time, to the point where he mentions it outright in the final scene. This does not happen on this tour, and the most he lets on is that he calls Josephine “sir” a few times. This weakens the affirmations brought out along Daphne’s arc, and it falls a little softer. (Perhaps this just isn’t welcome in the “anti-woke” era? Pity.) 5/10
Acting
The touring ensemble is solid, anchored principally by a Leandra Ellis-Gaston who oozes charisma as Sugar Cane, and secondary by a giddily expressive Edward Juvier as Osgood. The tip-tap-twins themselves are strong, vocally, though Tavis Kordell’s acting as Jerry/Daphne has an edge over the still-solid Matt Loehr’s Joe/Josephine. 8/10
Production
The production value for the initial production was superb, full of lush lighting and incredible set pieces (featuring director Casey Nicholaw’s signature pop choreography and Gregg Barnes’ dazzling costumes). Luckily, it makes its way to the touring circuit mostly in-tact. Said choreography is visually impressive, but there’s a lack of proper tap dancing beyond the first few numbers —to the point they have to pump tapping audio in during Act II. Which, at least where I sat, was among the only audio I could discern that wasn’t an instrument; it was impossible to hear several characters at many different points. The staging is also understandably pared down (no more train!), but I greatly appreciate the lack of screens as I did nearly three years ago. However, there were some glaring hair and makeup errors, leaving some characters to distractingly look closer to Old Deuteronomy than a 1930’s jazz band member. 6/10
Viz
The aesthetics are still as popping as ever, with its dandelion typeface and regal indigo palette. There’s a little less detail in the program cover, but it’s still a zippy 30’s look with fun lettering. 9/10
Verdict
Some Like It Hot hits the road with all its glitz, glam, and gaps, maintaining its status as a raucous good time at the theatre. 28/40
