Some Like It Hot

Photo Credit: Mirvish Productions

Some Like It Hot, written by Matthew López and Amber Ruffin, with music by Marc Shaiman and lyrics by Scott Wittman and Marc Shaiman, burst onto the stage of Ed Mirvish Theatre with riveting vocals and a supportive ensemble in glamorous attire. Based on the iconic 1959 film of the same name starring Marilyn Monroe, Tony Curtis, and Jack Lemmon, the play follows Joe (or Josephine), a saxophone player, and his friend Jerry (or Daphne), a cellist, as they become targets of the mafia and desperately try to escape Chicago after witnessing a murder. Using their instrumental talents and disguising themselves as women, the men join an all-women band and travel to Florida. While Joe poses as a millionaire and attracts the band singer Sugar, Jerry captures the interest of and eventually marries the millionaire Osgood.

Unfortunately, although the plot remains mostly unchanged, this production falters next to the original film, as it suffers from an underdeveloped cast, unconvincing portrayals of musicians, and overwhelming sound design. Still, audiences will surely appreciate the powerful vocal performances of the cast. Moreover, while some narrative changes step away from the iconic comedy, it allowed for some more thoughtful and emotionally touching moments.

Firstly, Sugar (Leandra Ellis-Gaston) showcased exceptional vocals throughout her ensemble and solo moments; her presence alone kept all eyes on her. Ellis-Gaston’s oscillating vibrato was consistent and had an enchanting and resonant effect on the produced sound. Moreover, her vocals, combined with her fluid tap-dancing movements, showcased her commitment to her character. Even in the bathroom scene with a small enclosure, no more than two meters wide, she projected visual intrigue and power, demonstrating that her vocals can command any space. What’s more is that her costume, stunningly designed by Gregg Barnes, further defined her presence. Her shimmering white gown elegantly set her apart from the ensemble members who wore solid colours.

Similarly, Sweet Sue, played by Dequina Moore, commanded the stage with compelling vocals while actively engaging the crowd. Moore consistently leaned forward towards the crowd, drawing them in with her body movements and open-palmed hand gestures that projected warmth. This combination of enthralling vocals and physical expressiveness not only demonstrated her expertise as a performer but also reinforced her connection with the audience, offering them an interactive, rather than passive, experience.

Supporting the main cast, the ensemble visually told the story through their dynamic dancing and musicality. The partner work—shown through the ensemble duets, engaged in their consecutive effortless lifts—conveyed the ensemble’s trust in one another, highlighting how music can forge deep bonds between those who love it. Notably, the duet dances between Joe and Daphne illustrated a strong mutual understanding of musicality. Their sharp movements conveyed energetic, on-the-beat moments, and their quick-paced tap dancing intensified during the production’s more heightened moments. Their matching facial expressions and synchronized steps further showed their chemistry, reinforcing how musicality can bridge individuals into a unified whole, thus transforming technical skills into a shared artistic moment.

Costume designer Gregg Barnes demonstrated a true understanding of the 1930s era, using it to great advantage through a series of costume changes, each more elegant than the last. The ladies’ ankle-length dresses and heels and the gentlemen’s tailored suits and collared shirts, accurately reflected the sophistication and formality of the era. Impressively, the costumes held up through the ensemble's heavy dancing, such as consecutive lifts and grand jumps. These costumes not only showcased the visual authenticity of this production but also the social dynamics and elegance of that time period.

However, the 1930 soundtrack design overwhelmed the actors’ voices at times. Daphne, played by Travis Kordell, already speaks in a relatively soft, seemingly suppressed tone; the song's overpowering volume buries his vocals. This results in the lyrics sounding muffled or indistinct, leaving the audience struggling to comprehend what the song is actually about. During emotionally charged moments, Kordell’s voice carried a faint and restrained quality that seemed to convey anxious panic rather than grief and turmoil.

Given that the entirety of this story revolves around a band, the realistic portrayal of musicianship is essential. Yet, while the production was fitted with realistic instruments like cellos, actors like Kordell’s simulated playing fell short. Rather than drawing his bow or plucking the strings, he hit the strings with a floppy hand, creating confusion on whether he was meant to be depicting a skilled cellist or a charlatan. This farce was especially prominent as the other actors who played woodwinds had convincing brochures and maintained a realistic illustration of a unified band. Even other ensemble members, like the performer who played the ukulele who faltered in his simulation, at least had wide grins and engaged physicality which made his performance more forgivable.

Similarly, Devon Goffman’s portrayal of Spats reduced the villain into an afterthought, with his noncommittal demeanor overshadowing his intent. Yet, Like Kordell, Goffman’s ominous threats were delivered by a suppressed and indifferent tone, though this could possibly be due to technical issues such as a faulty microphone. Still, regardless of the cause, Goffman’s lack of command leaves the production without a convincing mafia threat, thus undermining the stakes of the story.

In conclusion, although Some Like It Hot showcased a powerful ensemble, phenomenal vocalists, and glamorized costumes, the weak character portrayals and lack of instrumental comprehension hinder audience engagement. Fans of the original movie may still be able to appreciate it for the musicality, though it’ll be hard to put it side by side with the 1959 film.