Some Like it Hot at the Peace Center
One of the better movies-turned-musicals, Some Like it Hot has the advantage of arising from source material that’s already full of music.
Adapted from Billy Wilder’s legendary 1959 film that the director co-wrote with I.A.L. Diamond, the book by Matthew López and Amber Ruffin wisely carries over the core premise of Joe (Matt Loehr) and Jerry (Tavis Kordell) being jazz musicians in 1930s Chicago. But it’s the changes that make this Some Like it Hot — currently on stage at the Peace Center — distinct and relevant for modern times.
Though Wilder was a Polish-American Jew, his film isn't exactly a DEI showcase. However, the musical most certainly is, starting with co-lead Kordell’s Jerry, whose Black family adopted Joe in the boys’ youth, granting their tight friendship a refreshing layer of colorblind loyalty that’s expressed in the early anti-racism number “You Can’t Have Me (If You Don’t Have Him).”
Speakeasy performer Sweet Sue (Tarra Conner Jones) is also Black and opens the show with the rousing “What Are You Thirsty For?,” establishing herself as the show’s most captivating character and doubles down on that status as Joe and Jerry — running for their lives after witnessing mob boss Spats (Devon Goffman) murder an associate — dress as women, respectively call themselves Josephine and Daphne, and join her all-girl band on their trek to San Diego.
The decision to head west rather than through the South to Miami is handled in bluntly comedic fashion as Sweet Sue notes her skin color and the year. But that and “You Can’t Have Me” are pretty much the extent of López, Ruffin, and iconic lyricist Marc Shaiman (Hairspray; South Park: Bigger, Longer & Uncut) commenting on race. Instead, they wisely just let these characters exist, including vocalist Sugar (Nissi Shalome), who’s not asked to emulate Marilyn Monroe, just as there are no real traces of Tony Curtis or Jack Lemmon in Loehr’s or Kordell’s respective performances beyond wide character brushes. All three leads are a pleasure to watch and fully own their versions of these famous roles.
Making Daphne’s millionaire suitor Osgood (Edward Juvier) Hispanic also proves a nice touch and offers her more to relate to and fall in love with. Yet even with featuring numerous performers of color in matter of fact ways, Some Like it Hot’s defining characteristic is its celebration of the trans community. While the film’s ultimate message concerns loving someone even if “nobody’s perfect,” the musical is far more direct. Daphne's monologue about finding happiness and her true self, and encouraging Joe to call her by whichever name he prefers — as long as it's done with love — is extremely touching and, were the show held in a more progressive location than Greenville, South Carolina, likely would have garnered cheers and applause.
The production’s laudable inclusion and enhanced sense of heart pairs well with its entertaining premise, which reaches a peak in a brilliantly chaotic climax where a handful of doors-on-wheels and extremely smart direction and choreography from Casey Nicholaw convey the danger and humor of our heroes being chased through a hotel by Spats and his goons.
Add back to that musical core: the swinging local orchestra under the conduction of Tina Faye (no relation?) provides steady joy and, along with period-appropriate costumes by Gregg Barnes and scenic design from Scott Pask, completes the time-hopping effect. Like Jerry/Daphne’s unforgettable declaration, Some Like it Hot may not be perfect, but it makes for one hell of a night at the theater.
Some Like it Hot runs through June 15 at the Peace Center. For details and tickets, visit peacecenter.org.
(Photo by Matthew Murphy)
