Review: SOME LIKE IT HOT! at Fox Cities Performing Arts Center

Swing, sizzle, and tap your way into the golden age of jazz with Some Like It Hot! Based on the beloved 1959 Billy Wilder film, this high-energy musical comedy follows the misadventures of Joe and Jerry, two down-on-their-luck musicians who witness a mob hit in Prohibition-era Chicago. To escape the gangsters on their trail, the pair dons heels and wigs, joining an all-female swing band headed to sunny San Diego. But things heat up when Joe falls for the irresistibly charming lead singer, Sugar, and Jerry finds himself on the receiving end of a wealthy suitor’s affections—all while their cover teeters dangerously close to collapse.

Some Like It Hot is a cocktail of mistaken identity, big-hearted romance, and classic farce, all set to a toe-tapping score by Marc Shaiman and Scott Wittman, best known for their work on Hairspray. The show uses an inclusive lens to tell the story, layering in a theme of self-discovery, all without losing the glitz, glam, and comedic genius of its film roots. With dazzling choreography by Casey Nicholaw, crisp costumes, and roaring big band energy, this touring production delivers a classic Broadway spectacle.

Tavis Kordell, portraying Jerry/Daphne brought undeniable charisma and comic timing to the role, handling the physical comedy and fast-paced costume changes with impressive finesse. Their musicality and stage presence shined, especially in the show’s more playful numbers, and they earned plenty of laughs with a confident, crowd-pleasing performance. Despite the performer’s clear talent, the writing of the character’s arc felt underdeveloped. Moments that could have offered deeper insight into Jerry’s evolving identity or emotional journey seemed to be often brushed aside in favor of humor or spectacle. It was a spirited performance that hinted at something richer, but ultimately left us wanting more depth and dimension.

Leandra Ellis-Gaston, as Sugar, was the beating heart of this production, delivering a performance that was both vocally stunning and emotionally resonant. With effortless charm and warmth, she commanded the stage from her first entrance, infusing each scene with depth and authenticity. Her voice soared in every number—smooth, powerful, and expressive—turning songs that might otherwise feel incidental into genuine storytelling moments. Beyond her vocal talent, she brought vulnerability and nuance to Sugar.  Whether delivering a comedic line or a quiet moment of reflection, she captivated with grace and honesty.

While the leads carried much of the story, the supporting roles of Osgood (Edward Juvier), Sweet Sue (Tarra Conner Jones), and Minnie (Devon Hadsell) added a delightful spark that enriched the entire production. Osgood brought a joyful eccentricity to the stage, delivering laughs with impeccable timing and surprising tenderness that gave the show some of its most charming moments. Sweet Sue, the no-nonsense bandleader, balanced grit and heart with sharp comedic delivery and a commanding presence, anchoring the band scenes with flair. Minnie, ever the scene-stealer, lit up every moment she was in with quick wit and magnetic energy, adding texture and momentum to the ensemble. Each of these performers contributed to the show’s liveliness, offering some of the most memorable and enjoyable beats in the production.

The ensemble of Some Like It Hot is one of the production’s brightest highlights, bringing boundless energy, precision, and charm to every moment they’re on stage. Whether tap dancing in unison, backing up big musical numbers, or seamlessly executing complex scene transitions, this group delivered with professional polish and infectious enthusiasm. Their commitment to the style and period of the show added texture and life to the world of the musical, making each scene feel full and vibrant. The ensemble’s vocal blend was strong, and their dance work—particularly in the show’s lively group numbers—was consistently crisp and captivating.

The set design offered a mix of visual appeal and missed opportunity. Some of the three-dimensional pieces—particularly the moving chairs and tables, the hotel lobby pieces and the various doors—brought a welcome layer of texture and theatricality to the stage. However, much of the remaining scenery relied heavily on two-dimensional drops that, while colorful, often lacked the eccentric appeal of the time period. This contrast created an uneven visual experience; at times, the stage felt full and immersive, while at others it appeared flat and less engaging. With such stunning costumes and lively choreography, a more consistently dynamic set could have better supported the energy and style of the show.

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