With Big Music, Bold Choreography and Genuine Heart, Some Like It Hot Finds the Sweet Spot Between Comedy and Self Discovery.

January 6th, 2026

There is a certain ease that only comes from a production that knows exactly what it is doing and does not feel the need to prove it. Some Like It Hot arrives at the Kravis Center for the Performing Arts with that confidence fully intact, delivering a Broadway musical that embraces spectacle, precision, and laughter while never taking itself too seriously.

Based on the beloved 1959 film starring Marilyn Monroe, Tony Curtis and Jack Lemmon, the stage adaptation respects its screwball roots while confidently carving out its own identity. That balance paid off on Broadway, where the musical earned four Tony Awards, including wins for choreography and costume design. Those honors are immediately justified once the curtain goes up.

Set during the Great Depression, the show wears its era proudly without leaning into gloom. Costume designer Gregg Barnes gives the production much of its sparkle, filling the stage with tailored suits, shimmering dresses, and vibrant ensemble looks that feel era appropriate while still popping under the lights. The costumes do more than decorate. They move with the performers and become part of the storytelling itself. Paired with scenic design by Scott Pask, grand set changes glide in and out with cinematic ease, keeping the action fluid and the pacing brisk.

Photo by Matthew Murphy.

That constant motion is driven by director and choreographer Casey Nicholaw, whose Tony Award winning choreography turns chaos into something meticulously controlled. Tap dancing is not treated as a pause button but as punctuation. Misdirection gags land repeatedly, sometimes before the audience even realizes how carefully they were set up. A door filled chase sequence becomes an outright spectacle, drawing cheers and laughter in equal measure and reminding everyone why timing still matters in live theater.

Musically, the show leans hard into upbeat swing and jazz, with a score by Marc Shaiman and lyrics co-written by Scott Wittman. The book, by Matthew López and Amber Ruffin, balances sharp comedy with emotional clarity, trusting the audience to keep up without spelling everything out.

The cast matches that momentum with performances that feel dialed in and genuinely connected. Tavis Kordell brings a sharp mix of comedy and sincerity to Jerry, who becomes Daphne, carrying the show’s most meaningful emotional arc without ever losing the lightness that makes the farce work. His performance balances physical comedy with an evolving sense of self that quietly anchors the second half of the production.

That arc is strengthened significantly by Matt Loehr, who plays Joe and Josephine with charm, agility, and just enough self-awareness to keep the character likable even when he is clearly in over his head. Loehr’s chemistry with Kordell is immediate and consistent, allowing their scenes together to feel natural rather than mechanical. The timing between them is sharp, the reactions feel earned, and the comedy lands because the connection does.

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

Two performances, however, stand out with particular clarity. Dequina Moore commands the stage as Sweet Sue, fully embodying the character’s authority and confidence. With Broadway credits that include Legally Blonde, Hair and The Color Purple, Moore brings both vocal power and commanding presence. Her range is nothing short of stunning, and she anchors every scene she enters with ease.

Then there is Edward Juvier as Osgood, who may be the clearest example of how little a performer needs to do when instincts are this sharp. Known for roles in Les Misérables and The Phantom of the Opera, Juvier proves that dialogue is optional. His expressive physicality, impeccably timed dance cues, and quiet reactions consistently draw laughter, often before a single word is spoken.

That chemistry and comic precision pay off beautifully in Act II, particularly when the show opens with “Let’s Be Bad,” featuring Daphne, Osgood, and the ensemble. The number immediately resets the room with uproarious laughter. Costumes sparkle brighter, staging grows bolder, and the message is clear. This show is not easing into the second half. It is here to play.

Beyond the laughs and spectacle, what gives Some Like It Hot its staying power is how comfortably it explores themes of self discovery and being at ease in your own skin. While the story is rooted in another era, the idea of figuring out who you are, how you want to live, and whether you feel free enough to be yourself still resonates loudly today.

By the final curtain, Some Like It Hot proves it is more than a nostalgic adaptation of a classic film. It is a polished, Tony Award recognized production built on sharp performances, bold design, and impeccable timing. You leave the theater lighter than when you arrived, smiling, and maybe just a little more comfortable in your own shoes.