'Some Like It Hot' is the jazziest, funniest show of the year so far

Since the turn of the century, the deluge of movies-turned-musicals has left many theatergoers — myself included — a little wary. We don’t need a stage show of every cult classic film or romantic comedy with a few famous jokes that can be set to a tune. But sometimes, this genre does justify itself.

“Some Like It Hot” is one of those times.

The Pittsburgh Cultural Trust’s PNC Broadway in Pittsburgh series ends its regular 2024-25 season with a triumphant trumpet blast. “Hot” runs through April 20 at the Benedum Center in Downtown Pittsburgh.

Two ways that this critically acclaimed 2022 Broadway hit sets itself apart are its updates and expansions on the source material and just rip-roaring fun dance numbers.

“Some Like It Hot” has music written by Marc Shaiman and lyrics written by Shaiman and Scott Wittman. But the book — penned by celebrated playwright Matthew Lopez, along with comedian and writer Amber Ruffin — is where the show really shines.

Of course, from the get-go there were enormous high heels to fill. “Some Like It Hot” is based on the 1959 film, which was co-written and directed by Billy Wilder and starred Tony Curtis, Jack Lemmon and Marilyn Monroe. It was nominated for six Academy Awards and appears on many critics’ and film institutes’ lists of the greatest films of all time.

The stage musical is by no means a line-for-line adaptation. It makes plenty of changes, but none of them feel arbitrary or unwarranted. This version keeps the spirit, heart and humor of the source material, but adds in some extra laughs, reshapes some of the plot beats and throws in tons of tap dancing (which is never unnecessary).

We kick off in Prohibition-era Chicago, where entertainer and speakeasy owner Sweet Sue (Tarra Conner Jones) was just shut down by the cops and decides to start an all-female traveling band. In the meantime, two down-on-their-luck musicians, Joe (Matt Loehr) and Jerry (Tavis Kordell), perform at a nightclub owned by gangster Spats Colombo (Devon Goffman). After they witness Spats killing a traitorous member of his organization, the duo has to hit the road.

So, to avoid being caught by the murderous mobster, they decide to dress as women — Josephine and Daphne — and join Sue’s band as they play their way to San Diego. On the way, they meet the band’s singer, Sugar (Leandra Ellis-Gaston). Joe/Josephine is quickly taken with her, but he can’t blow their cover. Upon reaching San Diego, eccentric soda-pop millionaire Osgood (Edward Juvier) sets his gaze on Jerry/Daphne.

From then on, it’s a farcical and heartwarming trip while the two leads navigate their respective relationships, make discoveries about themselves and, well, try to avoid being shot.

For a musical, it’s a little funny that the songs are the weak point. Some of the more emotional numbers, like “Fly, Mariposa, Fly” and Daphne’s joyous “You Could’ve Knocked Me Over With a Feather,” stand out. And the overall jazzy feel of the music makes sense for the setting. Yet while the music blends together, none of the tunes stuck in my head.

On the other hand, all of the choreography set to the music (by director/choreographer Casey Nicholaw) was really the cat’s pajamas. From the opening number to the second act’s mind-bending chase scene that can only be described as “Benny Hill” in tap shoes, the full cast and ensemble’s dancing was a highlight.

The two leads, Loehr and Kordell, carry well the added weight of this script’s expanded character development. Loehr plays all three sides of his character(s?) with sincerity, and he puts his whole heart out there on the stage. Kordell has the biggest challenge of all: acting out the emotional journey of discovering one’s gender identity and living one’s truth. There’s so much joy in this performance, and Kordell is also a mesmerizingly fluid dancer.

Ellis-Gaston makes a picture-perfect 1930s jazz singer with sensational grace and a smooth, soaring voice. And then there’s Conner Jones as Sweet Sue, who owned the stage every time she was present, commanding laughs with hilarious facial acting and impeccable comic timing.

Scott Pask’s scenic design added to the fluidity of the show, each set piece easily moved and gave a sense of place without being too unwieldy. Lighting designer Natasha Katz kept things hot during the big numbers with plenty of brightness and color.

And I could write an epic poem about Gregg Barnes’ costumes and Josh Marquette’s hair design. Barnes won one of his three Tony Awards for best costume design for “Hot,” and it was entirely deserved. The luscious, glittering frocks in a range of colors from silver to sky blue to fuchsia worn by the band members, especially by Sugar, sashayed and swayed sinuously and caught the stage lights with every twirl.

Outside of being a spectacle of movement and pretty clothes, “Some Like it Hot” is laugh-out-loud funny from start to finish, but it also has a real heart. With nods to social issues like racism, sexism and gender identity, it feels modern, even in its century-old setting. Of course, it still feels like a loving sendup of an all-time great film. Some may like it hot, but everyone should be grinning when they leave the theater.

“Some Like It Hot” runs through April 20 at the Benedum Center in Downtown Pittsburgh, part of the Pittsburgh Cultural Trust’s PNC Broadway in Pittsburgh series. Tickets: trustarts.org.