SOME LIKE IT HOT Sizzles at the Eccles Theatre

SALT LAKE CITY — The Eccles Theatre lit up with golden-age glamour this week as the national tour of Some Like It Hot strutted into town. With its hot jazz score, tap-dancing spectacle, and razor-sharp comedy, this show is pure Broadway dazzle. The musical is based on the classic 1959 film starring Marilyn Monroe, Tony Curtis, and Jack Lemmon. Adapted for the stage in 2022 by Matthew López and Amber Ruffin, with music by Marc Shaiman and lyrics by Shaiman and Scott Wittman, the show has an updated take on the beloved farce and won numerous awards during its Broadway run.

The story follows two down-on-their-luck musicians, Joe (Matt Loehr) and Jerry (Tavis Kordell), who accidentally witness a mob hit led by gangster Spats (Devon Goffman). To save their skins, they disguise themselves as women—Josephine and Daphne—and join an all-female band run by the brassy Sweet Sue (Dequina Moore).

Complications pile on when Joe falls for the band’s singer, Sugar (Leandra Ellis-Gaston). Meanwhile, Jerry discovers unexpected joy in life as Daphne, even catching the eye of millionaire Osgood (Edward Juvier). The result is a whirlwind of mistaken identity, romance, and zany chase scenes, all underscored by syncopated swing.

Matt Loehr’s Joe/Josephine was pitch-perfect. His vocal numbers sparkled with bravado, and he tossed off one-liners with the speed and precision of a jazz trumpet riff. Loehr managed to be both leading man and comic foil at once, grounding the show’s farcical comedy.

As Jerry/Daphne, Tavis Kordell delivered a nuanced and joyful performance. His transformation from reluctant sidekick to radiant Daphne was funny and heartfelt. Kordell’s comic instincts shone brightly during the frantic chase scenes and his tall frame looms large in many scenes as he towers over many of the other actors on stage. This was used to full comic advantage at the top of Act II when Osgood and Daphne dance in “Let’s Be Bad.” But Act II also allowed Kordell to develop Daphne and give her more depth and warmth. His physicality shifted and blossomed with a confident elegance.

Leandra Ellis-Gaston made Sugar irresistible, combining vulnerability and effervescent charm. Vocally, she was stunning. Her torch songs shimmered with silky warmth, her high notes rang with crystalline clarity, and she occasionally put on a nasally 1930s quality to her more playful numbers. Her bluesy solo was a highlight of the night, especially under moody blue lights.

Moore was a powerhouse as Sweet Sue, commanding the stage with brass, bite, and boundless energy. Her show opener, “What Are You Thirsty For?” started the night off with a bang as her booming voice, her larger-than-life presence, and her quick wit made her the kind of bandleader who could keep everyone in line while still stealing scenes for herself. One of my favorite moments of the night was when Sweet Sue shouted at Joe and Daphne “You two ruin everything!” and then slammed the door on her way out. However, Sweet Sue’s robe got caught in the door as she was storming offstage. Moore showed her comic chops as she opened the door and shouted the same line again, followed by slamming the door again. Her quick thinking and perfect timing had the whole audience rolling and caused Loehr and Kordell to momentarily break character, to even more laughter.

Juvier mooning millionaire, Osgood, was eccentric and irresistible, with every grin, dance step, and swooping declaration of love drawing laughter. Vocally, he brought warmth and sparkle to his big number, “Fly, Mariposa, Fly,” which was full of intricate harmonies and humor.

While the principals carried the story, the smaller roles and ensemble gave the show its firepower. Goffman made the menacing mobster, Spats, both threatening and ridiculous in just the right proportions to keep urgency in the plotline. The energy level got an extra jolt every time the ensemble hit the stage. Vocally, the ensemble filled out the lush jazz harmonies with a sound that was both intricate and powerful. But what really makes this musical feel like a return to the golden age of cinema is the big dance numbers. The choreography by director Casey Nicholaw demands razor-sharp precision, especially in the explosive tap numbers, and this ensemble delivers with jaw-dropping synchronization. I only spotted one failed lift during the entire evening of jaw-dropping partner work and fast-paced tap dancing.

The production looked every bit as good as it sounded. Scenic designer Scott Pask embraced the Art Deco glamour of the 1930s, with drops flying in and out to transform the space. Natasha Katz’s lighting sets the mood for each scene, with a powerful example being when the lights shift the palette to change the mood entirely during Sugar’s introspective ballad where the stage gets bathed in cool blue gels, mirroring her heartache.

Costume designer Gregg Barnes filled the stage with a parade of glittering gowns and smartly tailored suits. Sugar’s wardrobe had sleek, shimmering dresses that seemed lifted from a vintage Hollywood film reel. But the most impressive work came in dressing the male leads as Josephine and Daphne. Josephine’s dresses were deliberately frumpier and kept the running gag going, while Daphne’s costumes grew sleeker and more fabulous as Jerry leaned into the new persona. Barnes managed to make comedy, character, and couture all work in harmony.

While I appreciate spectacle, and I love a good comedy, the music is what captivated me the most. I grew up playing the trumpet and I love jazz music, so I can confidently say that, for fans of good jazz, this show cooks. Marc Shaiman’s score is like a love letter to the big band era, and under conductor Mark Binns, the live orchestra swung hard all night long. From the first downbeat, the horns wailed and the rhythms slapped. It felt like I was transported into a smoky roaring ’30s nightclub.

I must caution that Some Like It Hot isn’t for young children since the themes lean PG-13, with some language, innuendo, mature jokes, and modern sensibilities about complicated relationships. But for an audience of teens and adults, this show offers an evening full of laughter, jazz, and quintessential Broadway magic.

The Broadway National Tour of Some Like It Hot plays at the Eccles Theater (131 S Main Street, Salt Lake City) through October 5, 2025. Performance times vary by date. Ticket prices begin at $69.94. For more information, visit https://www.saltlakecountyarts.org/events/some-like-it-hot/