By Lynn Venhaus

A crisp and snappy confection that has thoroughly modern moments wrapped in its old-fashioned big splashy musical format, “Some Like It Hot” bursts with bonhomie and good humor.

The first national tour is now playing at the Fox Theatre Feb. 26 – March 9, and the dynamic ensemble of polished triple threats is a jolt of joy.

The story features two musicians/dancers who quickly hatch a scheme to masquerade as women so they can escape from gangsters after fleeing a murder scene. They join an all-female band boarding a train to play at different stops across the western U.S., headed from Chicago to California.

Romance will complicate their plans, so will race and gender in this lively farce whose source material is much beloved.

Adapted from the iconic 1959 comedy starring Jack Lemmon, Tony Curtis and Marilyn Monroe and directed by Billy Wilder, it was named the greatest comedy film of all time on American Film Institute’s list “100 Years…100 Laughs” in 2000.

That’s a daunting challenge, and that’s why an earlier version in 1972, “Sugar,” has been nearly forgotten, despite a score by Jules Styne with lyrics by Bob Merrill, book by Peter Stone, and direction and choreography by Gower Champion.

That Broadway production starred Elaine Joyce as Sugar, Robert Morse as Jerry/Daphne, and Tony Roberts as Joe/Josephine, and ran for 505 performances.

With a complete overhaul – including moving it to 1933 from the Roaring ‘20s plus a few other tweaks and twists — and granted the rights to use the film title, this energetic and clever stage show warms hearts and elicits much merriment.

The reworked musical comedy opened on Broadway on Dec. 11, 2022, with music by Marc Shaiman, lyrics by Scott Wittman and Shaiman, and a book by Matthew López and Amber Ruffin.

However, this is not your grandmother’s “Some Like It Hot” nor does it simply dwell on guys in drag. Lopez, who won a Tony Award for his landmark “The Inheritance,” and Ruffin, who collaborated on “The Wiz” at the Muny in 2018 and is a staff writer for “Late Night with Seth Meyers,” bring their astute insight and modern sensibilities to this version.

They focus on themes of resilience, transformation, and finding your true self, which is represented well, especially in the character of Jerry/Daphne, slyly and wryly played by the winsome Tavis Kordell, whose joie de vivre is contagious. His “You Coulda Knocked Me Over with a Feather” is sublime.

(Another fun fact: Tavis was one of The Drifters in the Muny’s 2023 production of “Beautiful: the Carole King Musical,” and understudied Benny in Stages St. Louis’ “In the Heights” in 2022.)

The other half of the ebullient “Tip Tap Twins” is a slicker trickster – Joe/Josephine, played glibly by Matt Loehr. He’s the mastermind of scheme upon scheme just to keep them working and out of trouble. It is the Depression after all, and times are tough.

One of the brightest spots in the cast was scene-stealer Edward Juvier, who was a charming and delightful Osgood Fielding III, an eccentric millionaire who falls hard for Daphne. His ballad, “Fly, Mariposa, Fly!” was outstanding, as was leading the ensemble in a frisky “Let’s Be Bad,” and his fun “Poor Little Millionaire.”

(More fun facts: Juvier has been in 12 shows at Stages St. Louis, including “In the Heights” with Kordell).

Leandra Ellis-Gaston is a silky-voiced siren as Sugar Kane, a mezzo-soprano with impressive versatility – can belt or do up-tempo jazz. She’s confident – a dreamer, and not as needy as Monroe’s version, but vulnerable.

Nevertheless, her romance with a German film director that Joe is impersonating, as she becomes best friends with Joe, isn’t as interesting as the Daphne-Osgood pairing. It’s just the way it’s written

Also impressive in vocals is Tarra Conner Jones as blustery Sweet Sue, the bandleader of the 10-musician-singers Society Syncopators, who’s a catalyst for a good time. She can wail the blues, or she can do jazzy period pieces like “Zee Bap.”

Costume designer Gregg Barnes’ Tony-winning shimmering evening gowns and vintage daywear are divine.

The show was nominated for 13 Tony Awards, the most in 2023, and won four. J. Harrison Ghee won Best Actor for playing Jerry/Daphne and became one of the two first openly non-binary performers to win. (Fun fact: the multi-talented J. Harrison Ghee starred at the Muny in “Kinky Boots” and as Roxy in “Chicago” twice.)

Directed with gusto by Casey Nicholaw, who won a Tony for choreography for his dazzling dance numbers, ramped up the tap numbers to be standouts. His zippy style meant the staging is brisk and fluid.

For a touring show, Scott Pask’s scenic design is visually appealing in a fun and fluid way. With Art Deco hotel room sets, show venues, and assorted comings and goings, it’s fun to watch the zany chases, quick changes, and clever escapes. The wacky predicaments are so well-timed and executed that it feels like we’re watching a Marx Brothers movie at times, especially the daffy delight “Tip Tap Trouble.”

Nicholaw, who won a Tony for co-directing “The Book of Mormon” with Trey Parker, has an impressive list of crowd-pleasing hits to his credit, including “The Prom,” “Mean Girls,” “Aladdin,” “The Drowsy Chaperone,” “Spamalot,” and “Something Rotten!”

This show closed on Broadway on Dec. 30, 2023, but has enjoyed a robust reception on the road since September 2024.

What seemed to be the biggest letdown is the musical score by the normally whip-smart and snarky Marc Shaiman and co-lyricist Scott Wittman, who won Tony Awards for “Hairspray.” These songs, more of a pastiche, are not as memorable. It’s not that peppy tunes don’t support the vigorous dance numbers, it’s that they sound alike.

This piece can be enjoyable for both the film’s fans and those new to the story because its modernization is subtle and worthwhile, and it’s a grand good time.

Photos by Matthew Murphy.