‘Some Like it Hot’ Turns the Hippodrome Into a Cauldron of Laughter

Drag, the art of dressing and acting in a gender-nonconforming manner, has roots in ancient theatrical traditions and evolved into a powerful form of self-expression and resistance. While most individuals who perform in drag over the centuries do so for its entertainment value, in Some Like it Hot, the superb musical comedy currently gracing the stage at Baltimore’s Hippodrome Theatre as part of a national tour, drag is used comically as a way to escape a vengeful mob boss in 1933. More poignantly, however, drag afforded an opportunity for one of the show’s leading characters to discover their true identity and live their life with love based on their self-awareness.

Under the impeccable direction and choreography by two-time Tony Award winner Casey Nicholaw of Book of Mormon fame, Some Like it Hot is a high-tempo, energetic and at times, frenetic production brimming with laughter, dazzling tap dancing, a jazz-infused score, great orchestration and soaring vocals. An abundantly talented cast and creative team bring the comedy-filled, adventure-packed and life-altering story to life. With its frenzied costume changes and door slamming, it’s like Tootsie meets Mrs. Doubtfire.

Some Like it Hot, which opened on Broadway in 2022, is based on the 1959 classic film comedy with the same title capturing 7 Tony Awards of its 13 nominations.  With music by Marc Shaiman, lyrics by Scott Wittman and Shaiman (Hairspray), and a book by Matthew López (The Inheritance) and Amber Ruffin (The Amber Ruffin Show), there are plenty of toe-tapping numbers and a few soft ballads mixed in. The film starred Jack Lemmon, Marilyn Monroe and Tony Curtis. It’s a different era to be sure.

"...a high-tempo, energetic and at times, frenetic production brimming with laughter, dazzling tap dancing, a jazz-infused score, great orchestration and soaring vocals.

Set in 1933 during Prohibition, the story follows two musicians, Joe and Jerry, who happened to have witnessed a gangland killing in a Chicago nightclub. Spats, the mob boss, seeks to eradicate them to save his own keister. In order to escape, Joe and Jerry don women’s clothing and become Josephine and Daphne, respectively.

In disguise, the duo joins an all-girls band by impressing its no-nonsense leader Sweet Sue with their tap-dancing prowess. They all take the train from Chicago to San Diego with stops in between. Josephine and Daphne try like crazy to maintain their cover but love interests and self-discovery complicate matters. What’s left is a hilarious, zany story that hits on a wide range of emotions.

Scott Pask, as he always does, designed a gorgeous set utilizing drop-down scenery and a bevy of set pieces to reflect the numerous scene changes.  The train car’s exterior followed by the view of the interior is awesome. Amusingly, the frequent use of cubicle-style closets and doors where the performers enter and exit in various scenes resemble portable toilets when they are strung together across center stage.

Tavis Kordell (L.) and Matt Loehr as Jerry and Joe

Natasha Katz’s lighting design is bright, hue-rich, and effectively augments the seamless scene changes. Gregg Barnes designed the exquisite period costumes—and there are many—with women’s ankle length dresses and gangster attire among them.

Mark Binns conducts the excellent orchestra, which deliver the outstanding score and support the performances. Charlie Rosen and Bryan Carter handled the orchestrations.

Except for a brief 5-minute pause because of a sound snafu in the first act on opening night, Brian Ronan’s sound design produced high-quality sound and ample volume.

With the sterling work of the creative and technical team setting the foundation, the cast showcases their many talents. Not only do the leads get high marks for their singing, dancing, comedy and acting skills, much credit also goes to the Ensemble who perform precise, mostly tap dance numbers with lifts and turns throughout.

Production numbers, such as “What Are You Thirsty For,” “I’m California Bound,” “Take it Up a Step,” “Some Like it Hot,” “Dance the World Away,” and “He Lied When He Said Hello,” and “Tip Tap Trouble” are examples of high-energy and skillful performances turned in by the leads and Ensemble. In the latter, the high-octane chase sequence with characters entering and exiting doors at a breakneck pace is a showstopper.

As Joe and Josephine, Matt Loehr excels. Uber-talented, Mr. Loehr conveys the charming yet narcissistic saxophonist. He doesn’t quite possess the feminine characteristics one would expect if he really wanted to convince others that he’s a woman, but that is part of the comedy in his role.

He has many “wow” moments throughout and much of that includes comedy, but his singing and dancing talents come to the fore. In a duet with Jerry (Tavis Kordell), they soar in “You Can’t Have Me (If You Don’t Have Him)” when racial prejudice was preventing Jerry’s being hired in a nightclub.

Tavis Kordell excels as Jerry and eventually Daphne. Possessing a strong singing voice and solid dance moves, tall and rangy Tavis Kordell performs well in “You Coulda Knocked Me Over With a Feather.”  They also demonstrate elite acting skills as their journey comprises the main emotive sequences in the show. Having realized that Jerry is more comfortable as Daphne and wishes to remain so following this self-discovery, Tavis Kordell brings it home with nuance and credibility.

As the bossy, ambitious and anti-vice bandleader Sweet Sue, Tarra Conner Jones sparkles and is the anchor for much of the show’s hilarity. Her spot-on timing with biting rejoinders is hilarious. Ms. Conner’s mezzo-soprano vocals are fantastic particularly in the opening number “What Are You Thirsty For?”.

Leandra Ellis-Gaston convincingly plays Sugar Kane, formerly Gertrude Mudd, who is the lead singer of the group. She is vulnerable and is the love object of Joe even when he is in disguise. That dynamic provides some of the show’s tenderness mixed in with comedy. Ms. Gaston performs ‘A Darker Shade of Blue,” “At the Old Majestic Nickel Matinee,” and “Ride Out the Storm”—all solos—with exceptional vocals.

Edward Juvier wonderfully plays Osgood, the eccentric millionaire owner of the Hotel del Coronado in San Diego, with flair and camp. He has been on a mission to find love and when he meets Daphne, he felt he struck gold. Mr. Langton performs well in the group number ‘Fly, Mariposa, Fly.”

Other notable performers include Jamie LaVerdiere as Mulligan, Devon Goffman as Spats and Devon Hadsell, who was a member of the original Broadway company, as Minnie.

Rounding out the company in alphabetical order are: Ayla Allen, Ashley Marie Arnold, Kelly Berman, Darien Crago, Drew Franklin, Tim Fuchs, Rachael Britton Hart, Devin Holloway, Bryan Thomas Hunt, Emily Kelly, Brianna Kim, Stephen Michael Langton, Jay Owens, Ranease Ryann, Nissi Shalome, Michael Skrzek, and Tommy Sutt.

The comedy is there as well as a heart, and the music and dancing should appeal to all audiences. Some Like it Hot brings all the elements of good old-fashioned musical comedy to the stage. An extremely talented and charismatic cast supported by wonderful musicians and an award-winning technical team make this a don’t-miss show.

Nobody is perfect and no show is perfect. But Some Like it Hot is pretty darn close.

Running time. Two hours and 40 minutes with an intermission.

Some Like it Hot will play through Sunday May 11. Tickets are available at the BaltimoreHippodrome.com, Ticketmaster.com or in-person at the Hippodrome Box Office (12 N Eutaw Street) Monday through Friday, 11 a.m. to 3 p.m. and show days 11 a.m. until showtime. Groups of 10 or more should contact BaltimoreGroups@BroadwayAcrossAmerica.com or call 888-451-5986.

 

Photos: Mathew Murphy