By Jason and Alisha Hagey
Broadway at the Eccles’ stage transforms into Prohibition-era Chicago, and Broadway Across America’s production of Some Like It Hot bursts forth as a delightful romp of danger, disguise, and deliciously madcap escape. Two hapless musicians stumble into a mob hit and, with gangsters breathing down their necks, leap aboard a train bound for survival, reinvention, and the delirious possibility that running for your life might just be the best way to find it.
With the snap of a Charleston and the brass-blare swagger of Broadway in full bloom, Tony Award–winner Casey Nicholaw (Director and Choreographer) reasserts himself as musical comedy’s reigning alchemist. He doesn’t just stage Some Like It Hot; he ignites it into a spectacle. Tap breaks crack like gunfire, and jazz-soaked ensembles fizz with the bubbles of contraband champagne. Nicholaw’s choreography doubles as comic mischief. His production isn’t just razzle-dazzle. No. It is a tour de force celebration of song and dance – timeless and thrillingly new. The chase, the masquerade, and the chaos are perfectly timed and powerfully engineered into something remarkable.
The creative quartet behind Some Like It Hot [Marc Shaiman (Composer, Co-Lyricist, Vocal Arranger), Scott Wittman (Co-Lyricist), Matthew López, and Amber Ruffin (Book)] forged an extraordinary, seamless collaboration. They didn’t just replicate the plot of the beloved 1959 film. Using the established framework, they had a springboard for reinvention. The team successfully creates captivating new character motivations for the main action and explores fresh, contemporary themes, particularly those related to gender identity and race. Consequently, the production feels not only innovative and new but also essential. They preserve the joyful humor and timeless comedy spirit of the original while transforming the source material into a story that has a heartfelt impact.
From the moment the scrim rises, Tarra Conner Jones (Sweet Sue) steps on stage, you know who’s running the show (and it’s not just the band). Her commanding presence and comic timing set the tone for the whirlwind to come. Jones’ vocals blend unparalleled technique with an infectious, warm sense of humanity and sheer musical joy.
Matt Loehr (Joe/Josephine) brings a charming goofiness that makes his transformation into Josephine all the more delightful. What Loehr does with phenomenal ability, however, is his transformation from a likable cad to a thoughtful partner – both for Jerry/Daphne and Sugar.
Tavis Kordell (Jerry/Daphne) steals scenes with heart, humor, and some seriously impressive footwork.
Kordell brings the humanity with the humor. You believe their love story. You deeply love their humor, and you watch them transform into someone special when they take on the role of Daphne.
Leandra Ellis-Gaston’s Sugar is no damsel. She’s got pipes, poise, and a punch of personality that lights up the stage.
She subtly taps into Marilyn Monroe, evoking the famed actress without ever mimicking her. Then Ellis-Gaston makes Sugar her own woman, sensitive and hopeful, with layers of Ella Fitzgerald and Lena Horne in the vocals.
Edward Juvier (Osgood) is a lovable oddball who earns every laugh and cheer. Their rendition of “Fly, Mariposa, Fly” is a standout, unexpected moment, tender and joyful, earning genuine applause.
The ensemble in Some Like It Hot is a force of its own. They are all agile and endlessly entertaining. Their quick changes are flawless, their timing spot-on, and their energy never lessens. Whether moving through intricate choreography or delivering smart character moments, the ensemble brings personality to every scene. The dancing is especially impressive. It is fast-paced, tightly synchronized, and full of flair. They bring Nicholaw’s choreography to life, highlighting why he won the Tony in 2023.
Scott Pask (Scenic Design) brings the glamour of 1930s Art Deco to life with gleaming surfaces, bold geometry, and a playful wink to the era’s speakeasy culture. His use of doors is especially entertaining, turning entrances and exits into moments of surprise and comedy, perfectly in step with the show’s rhythm and charm. The doors themselves are another nod to trompe-l’oeil patterns that designers popularized at the time.
Gregg Barnes‘ (Costume Design) creations are a visual treat. They are fun, bold, and perfectly tailored to the show’s high-energy pace. His pieces stand out under stage lights and move with fluidity, enhancing both the choreography and character. He transitions between glittering gowns and snappy suits; every look feels true to the 1930s. And the quick changes? Seamless.
Sizzling and sparkling, Some Like it Hot tap-dances its way into your heart quicker than you can say, “Josephine and Daphne.” There is something indescribable – hard to put your finger on – about how special, how infinitely amazing this production is. The amalgamation of creative work, collaborative development, and genius ensemble performance takes Some Like It Hot from what could have been derivative to something delicious. From the opening brass blast to the final bow, this musical doesn’t just bring a classic film to life; it throws a party. And yes, everyone’s invited.
2 hrs, 45 mins with 1 intermission
Recommended for ages 12 and up
Zions Bank & Broadway at the Eccles present Some Like It Hot
September 30th – October 5th, 2025
Delta Hall at the Eccles Theater
131 Main St, Salt Lake City, UT 84111
Salt Lake City, Utah
Tuesday September 30, 2025-Sunday October 5, 2025
Tuesday-Thursday 7:00pm
Friday & Saturday 7:30pm
Saturday & Sunday matinee 1:00pm
Sunday 6:30pm
Tickets: $69.94 – $178.59
Broadway at the Eccles, or call 801-355-2787 (ARTS)
Some Like It Hot
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Accessible Performances:
ASL INTERPRETED: Thursday, Oct 2, 2025 at 7:00 PM
Patrons who are interested in the American Sign Language (ASL) performance should select seats located at Orchestra Left on the Main Floor rows D-H.
AUDIO DESCRIPTION: Friday, Oct 3, 2025 at 7:30 PM
The spoken narration of the performance’s key visual elements. This option is available on the following performances. Devices are available at the Patron Services window in the main lobby.
CAPTIONED: Saturday, Oct 4, 2025 at 1:00 PM
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