“Some Like it Hot” Burns Bright at the Orpheum

Do you find yourself in the midst of the January doldrums? Perhaps you need an all-singing, all-dancing escapist comedy to chase your blues away. Some Like it Hot, which opened at Broadway SF’s Orpheum Theatre on January 9, might just be the cure. Based on Billy Wilder’s 1959 classic film, this new musical adaptation updates the story for contemporary audiences while staying true to its spirit of wild comedy and surprising moments of tenderness.
Matthew López and Amber Ruffin’s book takes the basic premise of the film and updates it to reflect more current ideas about gender, sexuality, and identity. The original film was a game-changer when it came out, pushing the boundaries of what was acceptable in Hollywood during the restrictive Hays Code era. Featuring cross-dressing, sexual fluidity, and subtle depictions of homosexuality (gasp!), it was ahead of its time. The 1959 film, starring Marilyn Monroe, Jack Lemmon, and Tony Curtis, was revolutionary in how it depicted tolerance and self-expression, particularly in a time when homosexuality was criminalized.

In the new musical version, Joe (Matt Loehr) and Jerry (Tavis Kordell), two down-on-their-luck musicians, witness a mob-style killing and are forced to go on the run. Much like the film, the pair disguises themselves as women to join an all-female band led by Sweet Sue (a hilarious Tarra Conner Jones). This version takes the exploration of identity and self-acceptance much further. Joe becomes “Josephine” for the sake of survival, while Jerry, adopting the name “Daphne,” goes through a journey of personal discovery that leads to a more meaningful embrace of his true self.
This shift in the portrayal of Jerry’s character is one of the most notable differences between the musical and the film. In the original, Jerry’s transformation into Daphne was a comedic gimmick that led to a series of slapstick situations. However, in the musical, the character’s journey is more introspective and emotionally resonant. Jerry’s evolving feelings for the wealthy suitor, Osgood (played by a very funny Edward Juvier), brings a refreshing, albeit sometimes clunky, update to the classic story. The love story between Jerry/Daphne and Osgood feels more genuine in this version, with the musical emphasizing a message of love and acceptance that feels both heartwarming and, at times, heavy-handed. That being said, the audience gave many collective “Awwwwws” to the tender moments on stage.

While the 1959 film played the relationship mostly for laughs and left Osgood’s infatuation as a comedic punchline, the musical gives it a slightly more earnest tone. Daphne’s own self-acceptance comes not only from his discovery of gender fluidity but from a relationship built on mutual respect and understanding.
Leandra Ellis-Gaston’s portrayal of Sugar Cane adds another refreshing update to the musical. In the original, Sugar, played by Marilyn Monroe, was a somewhat naive and dim-witted character, a “dumb blonde” archetype whose primary focus was finding a rich man to solve her problems. Ellis-Gaston’s Sugar, however, is much more intelligent and self-aware. She’s still a talented singer and dancer, but there’s a deeper sense of agency in her character this time around. She’s not simply the object of male desire; instead, she’s an independent woman with her own goals and dreams. Ellis-Gaston’s nuanced performance gives Sugar a strong sense of self, and her relationship with Joe (Matt Loehr) evolves beyond mere superficial attraction.
In the film, Sugar’s love interest was Joe, who, in disguise as “Josephine,” attempted to woo her while navigating the awkwardness of his disguise. Here the love story between Sugar and Joe is more meaningful and emotionally charged. Joe, who begins the show as a smooth-talking ladies’ man, is gradually shown to have deeper feelings for Sugar. It’s not just because of her beauty, but because of who she is as a person. Their bond becomes a central theme of the show, and the musical focuses more on their developing connection as both characters open up about their personal lives and aspirations. Matt Loehr’s portrayal of Joe shows a man struggling to reconcile his identity and his feelings for Sugar. Ellis-Gaston’s Sugar reveals a woman who desires genuine love, not just a marriage of convenience.
While the musical’s message of acceptance is strong, what really makes it worth seeing is the sheer exuberance of the production. Directed by Casey Nicholaw, the choreography is spectacular, particularly during the chase scene in the second act. The action shifts into a full-on, high-energy dance number involving slamming doors, dizzying costume changes, dancing mobsters, and a splash of woman power. It’s a rare moment where the musical’s energetic and playful nature aligns perfectly with the themes of identity and freedom that it’s trying to explore. It’s everything we were hoping for when Some Like It Hot fully embraces the joy and liberation that made the original film such a timeless classic. The music, composed by Marc Shaiman with lyrics by Shaiman and Scott Wittman, complements the production’s vibrant energy.
Whether you’re familiar with the 1959 film or a newcomer to the story, this updated version at the Orpheum Theatre offers plenty of laughs, heart, and the kind of escapism we could all use this January.

“Some Like it Hot” will run through January 26th, 2025 at the Orpheum Theater. Visit their website to learn more.