It’s ‘Hot,’ now with gender-nonconforming awareness
Jerry (as Daphne), rejecting a marriage proposal: “I’m not a natural blonde. I smoke! I smoke all the time! I have a terrible past! I can never have children!” And finally, “You don’t understand. I’m a man!” Exasperated, he rips off a wig.
Osgood Fielding III, unfazed: “Well, nobody’s perfect.”
If you haven’t seen Billy Wilder’s brilliant 1959 film “Some Like It Hot,” you really should. The final lines were initially viewed as merely funny, yet it’s a landmark crack in the façade of 1950s gender presentations, hinting at a yet-to-become more fluid, accepting view of gender and desire.
The 2022 musical adaptation is even more enlightened.
The musical shifts from the film’s surprise reveal to a more explicit affirmation of Daphne’s identity and explores what it means to be seen, accepted, and loved.
Credit is due to Matthew López (“The Inheritance” playwright) and Amber Ruffin (writer/comedian; “Late Night with Seth Meyers”) with music and lyrics by Marc Shaiman and Scott Wittman, the duo behind among others “Hairspray” and “Smash”/“Bombshell.”
The snapshot plot remains the same: Two down-on-their-luck jazz musicians, Joe and Jerry, happen upon the St. Valentine’s Day Massacre. To escape pursuing gangsters, they disguise themselves — as Josephine and Daphne — and join the “all-girl” Sweet Sue and Her Society Syncopators band.
As on Broadway, the genius Casey Nicholaw directs and choreographs the tour playing the Eccles Theater, earning him a Tony for Best Direction of a Musical. (And the same honor for a fave: the hilarious, subversive “The Book of Mormon.”)
The cast benefits from the firsthand contact with Nicholaw. It’s a superb staging and, more importantly, on par creatively with the initial production.
Leading the cast are Matt Loehr as Joe/Josephine and Tavis Kordell as Jerry/Daphne.
Like J. Harrison Ghee, who created the role, winning him a Tony (as the first genderfluid leading actor), Kordell identifies as nonbinary. But is that because he’s genderqueer? Or sheer skill as an actor? I vote both. In their vocals, emotional clarity, and presence, Daphne feels alive. “You Could’ve Knocked Me Over With a Feather” is a powerhouse moment — equal parts comedic and soul-stirring. (Favorite lyrics: “I’m leading the parade / The die is cast / No more living in the past.”
Like with the Daphne character, comedy, romance, and physical comedy are required. Also, Joe needs to be more direct and scheming to contrast with Jerry’s more emotionally evolving arc. Loehr is at first a bit disconnected and soft-spoken, yet he becomes more truthful, balancing the comedy with real feelings, and is always in sync with Kordell.
Also deserving praise are Leandra Ellis-Gaston as the beautiful chanteuse Sugar and Dequina Moore as the brassy, no-nonsense bandleader Sweet Sue. They are delights.
Ellis-Gaston brings warmth, charm, and some complexity — more than simply lovelorn or naïve. Moore commands the spotlight with frequent side-splitting observations.
Like the lead players, the full ensemble has strong belty vocals and razor-sharp dance moves, mixing jazz, swing, and Charleston-inspired flavors.
A key ingredient to the show’s success: The zingers are nonstop.
Jerry: “Have I got things to tell you!”
Joe: “What happened?”
Jerry: “I’m engaged.”
Joe: “Congratulations. Who’s the lucky girl?”
Jerry: “I am!”
The musical was well‐received enough to get 13 Tony Award nominations (a lot).
You’ll leave entertained, impressed by dance, performances, and updated themes. And there are infectious laughs aplenty.
