Touring Broadway production taps its way into Denver Center’s Buell Theatre

The latest adaptation of Some Like It Hot fuses the timeless traditions of the Jazz Age and the rich elements of musical theatre with a modern approach on non-binary and race issues.

While the 1959 film version led states like Kansas to initially ban it due to cross-dressing, and the Roman Catholic Church’s Legion of Decency rated it “morally questionable in part for all” for its homosexuality and cross-dressing, this updated, Broadway version expands the narrative, showing a deeper side of Jerry/Daphne, brilliantly portrayed by Tavis Kordell. In it, he goes beyond tropes of men dressing as women and shows how becoming Daphne increases a sense of self-love and self-acceptance.

While the traveling tour initially wondered how the show’s themes of inclusion and diversity would be received in more conservative states — and were pleasantly surprised by the warm reception — Tuesday’s opening night at Denver’s Buell Theatre garnered a highly enthusiastic audience response, with plenty of cheering and support for both the spot-on performance and its message.

The toe-tapping song-and-dance opens with the ensemble and Sue (Tarra Conner Jones), the leader of the all-female band that Joe and Jerry ultimately join after disguising themselves as women to escape a mob hit, delivering the robust “What Are You Thirsty For?”

Transpiring during Prohibition, the set masterfully — and seemingly magically — sweeps audiences across the nation, from Chicago to California, as the plot thickens. Ornate costumes, lighting, backdrops and props (most notably doors) contribute to that sense of transportation, ultimately culminating in a madcap, ever-changing chase scene late in Act Two.

Edward Juvier as Osgood in the touring production of ‘Some Like It Hot’ at the Denver Center. | Photo: Matthew Murphy

Balancing humor and compassion

Through all of the antics, the cast balances over-the-top humor with tenderness and compassion for both transgender and Black performers, particularly in the more biased era of the 1920s. It throws out quick one-liners about surviving history as a Black musician that not only elicit laugher, but also hit home. And, this version showcases Black actors in the previously white roles of Jerry/Daphne, Sugar (played wonderfully by Leandra Ellis-Gaston) and Sue, further pushing the narrative.

Every main and supporting character excels in their roles, not the least of which are Matt Loehr as Joe/Josephine and Edward Juvier as millionaire Osgood. Both dance with absolute joy and expression, filling each of their character’s shoes with tapping good times in the case of Loehr and hilarious dance steps through Juvier’s uncanny movements.

With only a couple of short, quieter and moody tunes, Some Like It Hot maintains its high-energy music and dance without oversaturating or becoming tiring — a feat that some musicals don’t quite pull off.

Between the jokes, sweet character depth, dance and body-and-soul-inspiring music — not to mention costumery and sets — this adaptation keeps you smiling and grooving to the rhythms throughout the show, as well as long after you leave the theatre.

But, you’ll have to catch it while it’s hot: It leaves the Buell after July 20.

Devon Hadsell as Minnie in ‘Some Like It Hot.’ | Photo: Matthew Murphy