Ensemble Arts and the Shubert Organization present the national tour of Some Like It Hot

This is musical theater that leads with pleasure: broad, bold, and brassy. The score by Marc Shaiman and Scott Wittman (of Hairspray fame) doesn’t yield many earworms, but the energy is relentless and infectious. In director/choreographer Casey Nicholaw’s production, there are no cheeky winks to the audience—just full-throttle charm and commitment to the form. The effect is something rare in adaptations of movies: joy without irony.

Grace, charm, and chemistry

Tavis Kordell’s Jerry/Daphne is the heart of the show. As the character grows and blossoms, Kordell brings grace, vulnerability, and charisma. It’s a breakout role that blends physical comedy, dance, vocal skill, and emotional depth. Leandra Ellis-Gaston’s Sugar is also a smartly calibrated performance. Rather than imitating Marilyn Monroe, she reclaims the role as something new—her own woman, grounded and vibrant.

The rest of the ensemble is equally game. Matt Loehr’s Joe/Josephine is a charming, debonair presence, with notable chemistry alongside both Kordell and Ellis-Gaston. His early duet with Daphne sets the tone for the rest of the show. Tarra Conner Jones’s Sue is a welcome and confident addition to the story, providing comic punch and vocal power. Edward Juvier as Osgood is an instantly endearing delight who adds texture and comic warmth.

Small production missteps

Gregg Barnes’s costumes, which won the Tony Award in 2023, remain a standout—lively, characterful, and occasionally luminous. Less successful is Scott Pask’s scenic design, which occasionally feels scaled down for the road. Certain set pieces look flattened or diminished, lacking the grandeur the show sometimes seems to reach for.

Choreographically, the show is packed with tap numbers and big ensemble routines. While the high-energy movement is fun, some of the sharper details appear softened, perhaps due to the demands of touring or the size of the stage. The show seems to rely on pre-recorded tap sounds, which occasionally slip out of sync with the dancers—an unfortunate distraction in an otherwise energetic staging.

Imperfect but deeply enjoyable

One of the boldest and most welcome updates to this adaptation is its embrace of queerness. Daphne’s exploration of gender is not played for laughs or simply to aid in their disguise—it’s a story of self-discovery and affirmation. While not historical in the strictest sense, this queerness feels authentic to the emotional truth of the show. Rather than feel like a modern "overlay" on a vintage text, it is integrated thoughtfully into the character’s journey. Most importantly, it avoids condescension and rarely veers into pandering.

The book by Matthew López and Amber Ruffin handles a surprising amount of plot with ease, especially in Act I, which races along with breathless pacing. Act II slows a bit but still manages to hold interest, thanks to well-placed character beats and a steady stream of visual and emotional payoffs.

Some Like It Hot is an imperfect show, but a deeply enjoyable one. It’s the kind of musical that reminds you why the genre can be so transporting—bright costumes, sharp comic turns, tap-dancing gangsters, and a love story that defies convention.