DPAC's "Some Like it Hot" Reinvents a Classic in the Best Possible Way

Tavis Kordell (Jerry) and Matt Loehr (Joe). Photo by Matthew Murphy.

When the film Some Like It Hot, which features such legends as Marilyn Monroe, Tony Curtis, and Jack Lemmon, made its debut in 1959, it was met with mixed responses. While audiences generally found the story, which tells the tale of two Prohibition-era musicians who dress as women to flee Chicago after accidentally witnessing a mob hit, hilarious and surprising, others took issue with its themes and found it too risqué for the time. However, none of that stopped the movie from going on to be a huge success and an enduring classic that has been named the “Funniest American Movie of All Time” by the American Film Institute.

These days, of course, the original story has the potential to be problematic in other ways, such as using drag and gender fluidity merely as comedic plot devices. However, the newest musical version, currently onstage at the Durham Performing Arts Center, attempts to rectify these issues by taking a more sensitive, humanistic approach to the story and the characters. The result is a heartfelt, moving, and incredibly appealing production that breathes new life into a familiar script.

Featuring a book by Matthew López and Amber Ruffin, music by Marc Shaiman, and lyrics by Scott Wittman and Marc Shaiman, the musical, impeccably directed and choreographed by Casey Nicholaw, keeps most of the original story intact while giving the characters more depth and agency. 

It all begins when singing sensation Sweet Sue, portrayed by the fabulous Tarra Conner Jones, gets arrested during a raid and comes up with a plan to create a female band and embark on a musical tour that ends in San Diego. As her mission is getting underway, the audience meets Joe (Matt Loehr) and Jerry (Tavis Kordell), two best friends and musicians, who are scrambling to find work. The hard-won work they do eventually find ultimately leads them to witness a mob hit. Scared for their lives, they present themselves as women and finagle their way into Sue’s group. There, they meet the gorgeous Sugar (Leandra Ellis-Gaston), an aspiring star, whom Joe grows particularly close to. Of course, they’re still being pursued by Spats (Devon Goffman), who is, in turn, being pursued by FBI agent Mulligan (Jamie Laverdiere). As one can imagine, the whole situation leads to a lot of hijinx and plenty of surprises.

At the center of this tale, of course, are Joe, who poses as “Josephine,” and Jerry, who becomes “Daphne.” Loehr and Kordell are perfectly cast, sharing an easy, playful chemistry that makes them believable as long-time friends. Kordell’s Jerry is tall, attractive, and instantly funny and likeable, while Loehr’s Joe is aptly described in the script as a “mouthy little clown.” 

Both leads boast powerful singing voices and, even more impressive, magnificent tap dancing skills. They get a chance to show off these skills in the early “You Can’t Have Me (If You Don’t Have Him)” number. This raucous, exciting performance showcases both their dancing prowess and Nicholaw’s undeniable choreographic eye, which remains one of the highlights throughout. The number also draws attention to some of the racial tensions present at the time since Jerry, who is Black, is being met by prejudice during the song.

Leandra Ellis-Gaston (Sugar) and Matt Loehr (Joe). Photo by Matthew Murphy.

Racial issues are touched on yet again when Sugar sings “At the Old Majestic Nickel Matinee.” Ellis-Gaston gives an emotionally-charged performance of this tender ballad, in which her character grapples with segregation, a lack of representation, and the beauty of daring to dream in spite of it all. 

The number is lovely in its frank-but-poetic confrontation of such serious issues and is just one of many moments that make the story far more compelling and beautiful than its original iteration. As Ellis-Gaston sings, actor and character seem to meld together. She vocalizes straight from the heart, resulting in a song that feels poignant, heartbreaking, and amazingly hopeful all at once.

With the soul of a dreamer and the voice of an angel, Ellis-Gaston and her character are an easy win for the production, but there’s still more to love here. In particular, Jerry/Daphne’s ever-evolving storyline is a real delight. The more time Jerry spends as Daphne, the more he starts to see her as a real part of himself, one that begs for discovery and acceptance. 

Kordell, a North Carolina native and non-binary performer, brings an incredible sensitivity to the portrayal. Never bawdy or playing the character just for laughs, Kordell creates a Jerry/Daphne who is complex, fierce, and wonderfully empowering and affirming. All of this comes through loud and clear when they deliver the unforgettable “You Coulda Knocked Me Over With a Feather” number, in which Daphne embraces herself for good. The script also deserves praise for not simplifying the concept of self-identity. Jerry doesn’t just make a rapid switch to Daphne and never look back. Instead, the character becomes both Jerry and Daphne and boldly accepts both parts of themselves without feeling a need to justify or fully explain it.

With so many serious matters being discussed, it’s easy to imagine the musical as heavy and dense, but that’s not the case at all. Somehow, it still manages to feel funny and light in all the right places without shying away from the serious. It’s a perfect, magical blend that imitates the complexity and humor that are intrinsic to life itself.

Other standout features (and there are so many!) include Gregg Barnes’ period-perfect costume design; Loehr’s charming-but-sometimes-smarmy portrayal of an imperfect but growing character; Edward Juvier’s adorable, open-hearted characterization of Osgood, who takes a romantic interest in Daphne; and Jones’ turn as the pint-sized, loving, and motherly Sweet Sue. Even characters with less stage time, like Sue’s befuddled assistant Minnie, hilariously portrayed by Devon Hadsell, manage to shine.

Plus, there is no substitute for Nicholaw’s fast-paced, jazzy choreography. Huge tap dance spectaculars appear out of nowhere, often at a moment’s notice, and nothing can beat the second act chase scene, which lasts for several minutes and features can’t-miss-a-beat dancing throughout. Viewers watch in wonder as it all plays out perfectly, without a single step out of place.

There’s a reason that Some Like it Hot has won four Tony awards. It’s, quite simply, incredible. Unlike some movies-turned-musicals, this one reinvents a classic in the best possible way. It’s not just a pointless rehashing. Instead, it’s a new, inventive retelling with a rectifying, elucidating purpose. If you’ve seen the story play out before, you’ll see it in a new way, and, if you haven’t, you’re in for a real treat. Either way, this is one show that absolutely everyone needs to watch with an open heart and a keen eye.