Hollywood Boulevard glowed a little brighter on July 30 as the Pantages Theatre rolled out the red carpet for the Los Angeles premiere of “Some Like It Hot”—and what a debut it was. With music by Marc Shaiman, lyrics by Scott Wittman and Shaiman, and a book by Matthew López and Amber Ruffin, this Broadway powerhouse arrived with brass, sass, and a whole lot of tap.

Based on the beloved 1959 Billy Wilder film, it follows two musicians who witness a mob hit and go on the run disguised as women in an all-female jazz band. What begins as a desperate escape turns into a riotous journey of reinvention, friendship, and self-discovery—all underscored by a hot jazz score and sharp-witted book that bring vintage charm into vivid, modern focus.

“A jazz-soaked, high-kicking celebration of joy, identity, and becoming exactly who you are.”

Under Casey Nicholaw’s whip-smart direction, the show isn’t just a revival—it’s a reinvention. Vintage glamour meets contemporary verve in a production that sparkles like champagne: fizzy, intoxicating, and just dangerous enough. No surprise it led the 76th Tony Awards with 13 nominations and clinched four, including Best Choreography, Best Orchestrations, and Best Costume Design.

Leandra Ellis-Gaston redefines Sugar with sultry grace and radiant sincerity. Her “At the Old Majestic Nickel Matinee” was molten velvet—evocative, soulful, and entirely her own. This isn’t Monroe redux—it’s Sugar reborn, laced with strength and wistful charm.

But the show’s emotional engine belongs to Matt Loehr (Joe/Josephine) and Tavis Kordell (Jerry/Daphne). Their chemistry in “You Can’t Have Me (If You Don’t Have Him)” set the tone for an evening of playful duets and quietly profound shifts. Loehr oozes charm with a knowing wink, but it’s Kordell who delivers the night’s most surprising arc. What begins as a disguise becomes something deeper—a blossoming that feels both joyous and real, anchoring the show’s glitter in something beautifully human. His second-act solo, “Let’s Be Bad,” was as revealing as it was riotous—earning both roars of laughter and moments of hushed awe.

Scene-stealers abound. Tarra Conner Jones commands as Sweet Sue, her vocals and comedic timing immaculate. Edward Juvier charms as millionaire Osgood, bringing down the house with “Fly, Mariposa, Fly”—a gloriously absurd love song that somehow lands with real tenderness.

Charlie Rosen and Bryan Carter’s Tony-winning orchestrations roared to life behind deco arches, propelling Shaiman’s swinging score with bold, brassy flair. The show pulses with hot jazz and big band swagger—equal parts vintage nightclub and Broadway bravado. Nicholaw’s choreography dazzles throughout, culminating in a madcap, door-slamming finale so breathless and precise it borders on balletic chaos. And it all moves with clockwork grace. The show glides from scene to song with razor-sharp timing, its momentum never flagging—a masterclass in theatrical pacing. Gregg Barnes’ glittering costumes conjure Prohibition-era opulence, each gown and tux a shimmering nod to Art Deco glamour. Every visual element supports the storytelling with clarity and dazzle.

“Some Like It Hot” is more than a musical. It’s a jubilant, high-kicking, jazz-soaked celebration of joy, identity, and becoming exactly who you are. While the original film leaned on monochrome charm and classic quips, this version bursts with Technicolor life—brighter, bolder, and refreshingly free. Catch it at the Pantages while it’s still burning hot.

— Rosane Grimberg

“Some Like it Hot” plays through August 17th at the Pantages Theatre. For more information visit https://www.broadwayinhollywood.com/