The film Some Like It Hot was ranked #1 on the American Film Institute’s list of “The 100 Funniest American Movies of All Time.” What is not generally known, according to David Greene, Senior Vice President of Programming at Playhouse Square’s notes for the musical version of the film, which is now on stage at the Connor Palace as part of the Broadway Series, is that the film pushed the boundaries of strict moral guidelines that governed the motion picture industry from the mid-1930s until the mid-1960s.”
Some Like It Hot the movie was released without approval from the Motion Picture Production Code, became a commercial hit, was nominated for six Academy Awards and was the major cause of the end of the restrictive freedoms for the entire film industry.
What was so controversial? The topics of crossdressing, illusion of transgender desires of one of the lead characters and sexual promiscuity were all either dealt with or hinted at.
The transition from film to stage musical was, according to Greene, brought about by director and choreographer Casey Nicholaw’s “willingness to express bold ideas, ability to bring comedy and heart equality to the stage, and the way blended traditional Broadway elements with fresh, contemporary style.”
The musical script “gives characters more depth, deepens the context of relationships and contemporizes the themes.”
The musical harks back to the musical comedies of the Golden Era of Broadway shows such as On the Town, The Boy Friend , Gentlemen Prefer Blondes and Thoroughly Modern Millie.
The story? After witnessing a Mafia murder, Joe and his long-suffering buddy Jerry improvise a quick plan to escape from Chicago with their lives. Disguising themselves as women, they join an all-female jazz band and hop a train bound for California. While Joe pretends to be a millionaire to win the band’s sexy singer Sugar, Jerry, in full drag, finds himself romantically pursued by a millionaire. The mobsters follow them. The police follow the mobsters. A major farcical chase of the bad guys, the good guys and all the women results in a happy-ever-after conclusion.
The wonderful score, which doesn’t really include a hit song but features one showstopper after another, not only exhausts the dancers, requiring a 20-minute between-acts intermission so the poor kids can catch their breath, but includes such wild interludes as “Tip Tap Trouble,” “Dance the World Away,” “Poor Little Millionaire,” “Take It Up a Step,” and “I’m California Bound.”
The outstanding touring cast is headed by tall, sensual Tavis Kordell (Jerry/Daphne) and dynamic Matt Loehr (Joe/Josephine). Both have outstanding singing voices and dancing skills. Each creates a well-honed character. Though her shouting sometimes overshadows her pronunciation, Tarra Conner Jones (Sweet Sue) belts her songs with dynamism. Lovely Leandra Ellis-Gaston is perfectly cast as Sugar. The rest of the hard-working cast displays great singing and dancing skills.
Greg Barnes costumes are period correct and beautifully designed.
Capsule judgment: Some Like It Hot is full of dynamic modern and tap dancing, grand costumes and sets, lots of extended farce with doors slamming, double identities and physical schticks, enfolded in big jazzy full-orchestra sounds. If you enjoy musicals of a flashback to the old, just sit back and have an enjoyable experience.
The show runs through November as part of the Key Bank Broadway Series. For tickets call 216-241-6000 or go to playhousesquare.org.
[Written by Roy Berko, member: Cleveland Critics Circle, American Theatre Critics Association]
One Response to “THEATER REVIEW: “Some Like It Hot” @ Playhouse Square by Roy Berko”
Edward Mycue
“…one showstopper after another, not only exhausts the dancers, requiring a 20-minute between-acts intermission so the poor kids can catch their breath….”
AND Roy Berko is one of the kind of reviewers who speak “process” you wait all day for and then stampede the theater booking office. Berko and Kennelly climb every mountain. Living in San Francisco I go to Cleveland Ohio for whyo-whyo.
COOL CLEVELAND has the one of the Irish coffee cream of writers wondersouly-attuned to theater-goers. COOL indeed CLEVELAND has captured the best writers (just talking here of Kennelly and Berko for theater) can’t be merely lucky. It also has a great readership who worship good writing and charmed editors who like ‘buttah’-likewisseers-are green hope.