You really have to look with a magnifying glass to find an original production these days, especially on the musical side. So many shows these days are what they call "jukebox" musicals...which use pop hits of current or latter days to flesh out the songs. This is original? Not so much.
One of the only shows right now with new lyrics and melodies is the new rendition of "Some Like It Hot." Now you would think this was a no-brainer, but there is a built-in problem for yours truly. You see, the 1959 film is number two on my list of all-time favorite movies. Will I be a harsh critic? Most likely. Indeed, as I made plans to enter the Shubert Theater, I sort of felt like I was cheating on the legendary writer-director Billy Wilder.
And I am wondering if other people are feeling the same way. On the day of the performance, we didn't have tickets yet. I was told the show is not doing boffo box office. And, looking at the show website at 12 noon, about two-thirds of the orchestra was still open. Hmmm. This prompted my friend to check out the old half-price TKTS line and she scored as close to house seats as you can get. We were apparently not the only ones. By 8PM, the theater was packed. And, heck, these days, half-price tickets mean you're still paying upwards of a hundred bucks.
The tepid box office is now a little more confusing to me, because, in reality, "Some Like It Hot" is decent entertainment. Oh, sure, it's got some problems. The show actually features TOO much music. There are three production numbers too many. Somebody needed to scream at the writers..."drop the pencil, please."
But the performances by the cast are spot-on and you get the sense that the producers are trying to hold on so they can score some inevitable Tony nominations. The awards could potentially save the show from an ignoble demise.
Probably everybody knows the plot of "Some Like It Hot." In Prohibition Chicago, two musicians witness a gangland slaying and are forced to hide out dressed as women in an all-girls jazz orchestra. Done.
But, in 2023, there are necessary boxes to click in order for your work to be produced in any medium. First off, you need diversity. So, the Jack Lemmon and Marilyn Monroe roles are now played by Blacks. The Sweet Sue role is beefed up...literally and figuratively...and also played by a Black woman. You have Lin-Manuel Miranda to thank and/or curse for this.
But, in 2023, you also need a message to hammer at the audience and "Some Like It Hot" has a big one. Now it's more than just hiding in women's wardrobe. The Jack Lemmon role slowly starts to realize that he is more comfortable being a she. And that ultimate revelation is met with a host of "bravos" from the audience. Point taken.
None of the above does any real disservice to "Some Like It Hot." It has a wonderful old school feel to it. Once again, it's the superlative cast that makes this work as much as it does. Unfortunately, we got a pretty good understudy in the Tony Curtis part. But J. Harrison Ghee is fantastic as Daphne/Jack Lemmon and is sure to win a Tony and, given his height, also a deal with some NBA franchise. By the way, the actor does identify himself as "non-binary."
Adrianna Hicks does a good job with Sugar/Marilyn Monroe. And NaTasha Yvette Williams (that's not a typo in the first name) is hilarious as Sweet Sue even if she appears to have wandered in from a 70s Norman Lear sitcom. Of everybody, my absolute favorite for Tony Award glory is Kevin Del Aquila as Osgood Fielding. He steals every scene he is in. A personal bravo from yours truly.
Now, with regard to the original movie, the musical makes a few modifications. The millionaire that Joe/Tony Curtis pretends to be is now a German director...a little homage to Billy Wilder. And the gangster Spats Colombo is now not a bootlegger but a gambling night club owner. None of these revisions bumped me a lot.
Except...
To me, the movie has three iconic moments that the musical should have kept totally intact. Unfortunately, they booted two of the three with overkill.
For instance, in the movie, there is no better reveal than the first time you see Josephine and Daphne in women's clothing. It comes up suddenly and still works every time you see the movie with an audience. But, in the musical, they build a whole production number out of the two men putting on the clothing. Less is more and the big surprise, even if you know it's coming, is ruined.
The second misstep is the well-known ending line where Osgood tells his girlfriend "nobody's perfect." I was waiting for it and hoping for sheer simplicity. Instead, again, it becomes an unneeded production number around the words "nobody's perfect."
The only legendary moment they don't botch is the one where Daphne announces she is engaged to Osgood. Producers don't mess with the "who's the lucky girl?...I am" exchange because they know it will be met with rousing applause from today's audience.
So I liked it Hot. Even if, in some spots, it was just a little warm. If interested, please go. You won't be disappointed. And you probably won't be paying full price.
Dinner last night: Hibachi steak at the Cheesecake Factory.
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