By: Darryl Reilly
Gun-toting gangsters, tap-dancing bellboys and men in drag, are among the familiar devices uproariously employed by director and choreographer Casey Nicholaw, for his exuberant production of the new Broadway musical, Some Like It Hot. The spirit of the 1959 comedy film classic, directed by Billy Wilder and co-written by him and I. A. L. Diamond, is faithfully channeled with plentiful fresh flashes. Fans of the movie, and those who’ve never seen it should be equally entertained. For the record, Sugar, was also a 1972 Broadway musical adaptation with a book by Peter Stone, music by Jule Styne and lyrics by Bob Merrill, that ran for 505 performances.
Mr. Nicholaw’s virtuosity and command of stagecraft achieve visual flair, momentum and emotional depth. Nicholaw’s witty staging recalls the heyday of Tommy Tune’s inventive flourishes. Matthew López and Amber Ruffin’s fizzy book artfully follows the events and tones of the film, while adding a light present-day dusting. Crucially, their precise plotting allows for a swift trajectory. Composer Marc Shaiman’s jaunty music contains one delightful pastiche 1930’s melody after another. The lyrics by Mr. Shaiman and Scott Whittman, are equally as zesty as well as appropriately thoughtful at times. The result of this creative team efforts is a grand comic entertainment à la Cole Porter, Guy Bolton and P. G. Wodehouse’s shows.
In 1933 Chicago, musicians and tap dancers, Joe and Jerry inadvertently witness a gangster killing in the nightclub they’re performing at and are pursued by mobsters’ intent on rubbing them out to shut them up. They dress as women, get hired by an all-female band and trek by train to Los Angeles. Joe is now Josephine and Jerry is Daphne. Their masquerade succeeds but becomes complicated when Joe falls in love with Sugar, the band’s singer, and Jerry becomes the object of affection of millionaire Osgood Fielding III. There’s more franticness as the gangsters arrive at the hotel nightclub they’re preforming at.
Mr. López and Ms. Ruffin’s book diverges from the film most noticably regarding the romance between Jerry/Daphne and Osgood. The movie treated it as a sight gag and comedic contrivance particularly the inconclusive though monumental ending. Here, it’s crafted and played realistically with the notion that these are two men who fall for each other matter of factly.
Two-time Tony Award winner Christian Borle is his delightfully animated self as Joe (the Tony Curtis part), and he relishes playing up the running gag of being thought of as old as Josephine. Mr. Borle uses his arsenal of vocal and physical performing traits to achieve his magnetic characterization. Borle and Joe Farrell are credited with additional material. The dynamic J. Harrison Ghee turns in a sensational musical comedy performance as Jerry/Daphne (the Jack Lemmon part). Ghee’s charismatic down to earth quality enriches each of characters during several standout numbers. Hyper-talented Adrianna Hicks’ take on the iconic Marilyn Monroe role of Sugar, is exhilarating, fresh and distinctive. Ms. Hicks sings, acts and dance with pleasurable force. This trio’s symbiotic rapport is the show’s spine.
Joyously feisty and possessed of superior comic timing, NaTasha Yvette Williams is a blast as band leader Sweet Sue. Ms. Williams soars in her Bessie Smith-style song numbers and gets laughs galore. Most amazing is Kevin Del Aguila as Osgood. The bearded, mature-seeming and kinetic Mr. Del Aguila delivers the musical comedy supporting performance of the season. Mark Lotito as Spats, the mob boss is breathlessly wise guy funny. Adam Heller’s Mulligan, the stolid detective is old-school cop amusing, especially when needfully in drag. Apart from Borle, most of these seasoned central actors are relatively unknown, so there’s the welcome quality of discovery in experiencing their portrayals. The rest of the ensemble and chorus are all exceptional.
Integral to the production’s success is scenic designer Scott Pask’s simply executed glorious Art Deco-themed components which swiftly move on to the next gorgeous locale, including an upscale Mexican cantina. Gregg Barnes’ costume design is of splashy old-time pizzaz as well as mobster chic. Lighting designer and Natasha Katz and sound designer Brian Ronan’s contribute excellence. Josh Marquette’s hair design and Milagros Medina-Cerdeira makeup design are both key elements to visualizing the array of characters.
Early press reports played up Some Like It Hot as an off-putting heavy-handed woke exercise, thankfully this is not the case. Some Like It Hot is a smashing Golden Age-style Broadway musical, with a contemporary edge.
Some Like It Hot (open run)
Shubert Theatre, 225 West 44th Street, in Manhattan
For tickets, visit www.somelikeithotmusical.com
Running time: two hours and 30 minutes with one intermission