
Mariposa. The Spanish word for “butterfly”. Butterflies are often used as a metaphor for transformation, for a change from something that doesn’t look so great into something beautiful. Because of this, it is cherished as a transformational symbol in many communities. More on that in a minute (because it is relevant); for now, the mariposa is also a metaphor for a particular piece of intellectual property.
Last night, we saw Some Like It Hot at the Hollywood Pantages (Broadway in Hollywood). Some Like It Hot is based on the 1959 Billy Wilder movie of the same name starring Tony Curtis, Jack Lemmon, and Marilyn Monroe. In that movie, the humor often came from the overused, and now outdated, trope of the “man in a dress”. In 1972, this property finally made it to Broadway with the musical Sugar! (title changed because they couldn’t license the movie title), with music by Jule Styne and lyrics by Bob Merrill. I saw it at the LACLO in 1974, and truthfully don’t remember much about it (I was 14 at the time). But this version of the show didn’t last on Broadway; it was increasingly creaky in an era of the new, socially relevant, music (its competition in that season, for example, was Pippin).
For those unfamiliar with the story, the basic plot of the show is that two jazz musicians, Jerry and Joe, witness a mob killing. They need to get out of town, quick. So they decide to disguise themselves as women, and hide out in an all woman’s band that is travelling far away (Florida in the movie; San Diego in the musical). Of course, problems ensue. Joe falls in love with the band’s beautiful songstress, Sugar Kaine (who knows him not as Joe, but as either Josephine, or Kip, the screenwriter he pretends to be). In San Diego, the owner of the hotel, Osgood Fielding III, falls in love with Jerry, who he knows as Daphne. Oh, and the mob boss, Spats, discovers where the two men are hiding.
Broad comedy, truly in the sense of the implicit pun. But comedy that, on the face of it, is much less funny these days. I’ve written before how the “man in a dress” trope isn’t aging well. We’ve seen it on the Pantages stage recently, with shows such as Tootsie and Mrs Doubtfire. Those shows were, in the language of [Title of Show], “Donuts for dinner”. Tasty for a brief moment, but in reality a bad idea. It takes a careful approach to make it work. Intent is everything. La Cage Aux Folles works because the humor comes not from a man dressing as a woman (he’s a drag performer), but from someone trying to act as a man. For Some Like It Hot, the book writers for this version appear to have taken inspiration from the actual ending of the movie. Wikipedia describes it thusly:
Still dressed as “Daphne”, Jerry persuades Osgood to take Daphne and Josephine away on his yacht. Sugar runs from the stage at the end of her song and jumps aboard Osgood’s launch just as it is leaving the dock. Removing his disguise, Joe confesses the truth to Sugar and tells her that she deserves better, but Sugar wants him anyway, realizing he is the first man to genuinely care for her. Meanwhile, “Daphne” tries to get out of his engagement by listing reasons why “she” and Osgood cannot marry—can’t wear Osgood’s mother’s wedding gown because she’s “not built the same”, not a natural blonde, smokes, can’t have children, has been living with a saxophone player—none of which dissuade Osgood. Exasperated, Jerry rips off his wig and says “I’m a man!” in his normal voice. Still smiling, Osgood replies “Well, nobody’s perfect!” confounding Jerry and leaving him speechless.
Think about that: A man who wanted to marry someone he thought was a woman, who turns out to be a man dressed as a woman… and saying “Well, nobody’s perfect”. In 1959, mind you, when gay acceptance was in hiding, and no one knew of transgender. It was played for humor then, but today…
Mariposa
With subtle (and not so subtle) tweaks and changes, this new production of Some Like It Hot turns the trope around. Jerry is still a man, but this time, he’s a colored man. And Sweet Sue and much of her band? They are also colored. They are running to San Diego, not Florida, because, well, colored folks in the South. Oh, and this time, when Jerry puts on the dress to become Daphne, he discovers … that he likes it. He discovers that it unleashed a side of him that makes him feel complete. The show never explicitly states he is trans (they never had the language for it then), and in fact, he seems to be more genderfluid, for Daphne indicates that at times he is more comfortable in pants, and at time she is more comfortable in a dress.
There’s a meme going around these days from folks in or allied with the trans community about the transformation from a caterpillar to a butterfly. That meme hit home in a particular song in the show, “Fly, Mariposa, Fly“, which Osgood sings to Daphne/Jerry when he is expressing his love:
On a leaf, a mariposa leaves a huevo—
That means egg!
Which becomes a caterpillar by and by
When it’s grown, it hides and waits for Mother Nature’s kiss
Metamorphosis, and when we see her next
It’s time for her to fly
Fly, mariposa, fly
I would never pin such beauty down
You should be free to touch the sky
So fly, mariposa, fly
That is how I see you, Daphne
As a caterpillar?!
As a butterfly! About to take wing!
The authors of this show have turned it around. It went from being a trope comedy about a man in a dress, into a comedy that is about acceptance, about finding who you really are, and about figuring out what you really want.
Or, to put it succinctly, we really enjoyed this show.
The music was wonderful and jazzy, but I tend to like the music of Marc Shaiman and Scott Wittman (the folks behind Hairspray and Catch Me If You Can). There is one song that was repurposed from Smash (and, indeed, appears both here and in the recent Broadway version of Smash), and that song is an earworm.
The performances are also top-notch. Tavis Kordell does a wonderful job as Daphne/Jerry, and appears to be one of the only folks on stage that is actually playing their instrument (hint: If you are pretending to be a brass player, then remember to fake clearing the spit valve periodically — its a dead giveaway when you don’t). Tarra Conner Jones is great as Sweet Sue; we remember seeing her in A Strange Loop at the Ahmanson. Edward Juvier was great at Osgood, playing the role with joy and fun (and the clearest singing of any of the performers). Leandra Ellis-Gaston was also strong as Sugar. My eyes, however, were also drawn to two of the ensemble members: Brianna Kim and Ashley Marie Arnold, simply for their enthusiasm in the role. Enjoying a role really comes through in the performance.
There were also some very interesting Southern California connections. Devon Hadsell, who plays Minnie, shone in the Chance Theatre production of Lysistrata Jones, and the La Mirada production of Hunchback of Notre Dame. It was wonderful to see her doing great in a Broadway tour. Darryl Archibald, the co-Music Supervisor here, used to be one of the main music directors out at Cabrillo Music Theatre, as well as doing numerous shows at the Pasadena Playhouse. Charlie Rose — a son of the San Fernando Valley — did the orchestrations here. I remember when he got his first big break as part of the orchestra in 13 at the Ahmanson Theatre.
The show did suffer with a common problem at the Pantages: Muffled sound. We were in row Q, on the side. For many of the songs, you had to strain to make out the lyrics. That shouldn’t be the case in Row Q. What is shows is that the move-in process failed to balance-check the sound and compensate for the particular building. Hopefully, that can be fixed in this short run.
On the plus side: This is the first show in a long time that didn’t have a confetti cannon.
We really enjoyed this show, and think you will too. Tickets are available through the Broadway in Hollywood website. Some Like It Hot continues at Broadway in Hollywood (Hollywood Pantages) until August 17, 2025.
Credits
Some Like It Hot. Book by Matthew López and Amber Ruffin. Music by Marc Shaiman. Lyrics by Scott Wittman and Marc Shaiman. Based on the Metro-Goldwyn-Mayer motion picture “Some Like It Hot”. Directed and Choreographed by Casey Nicholaw.
Cast: [underscores indicate “at our performance”; strikeouts indicate “not at our performance”; ↑ indicates “swung up”]: Matt Loehr Joe / Josephine; Tavis Kordell Jerry / Daphne; Leandra Ellis-Gaston Sugar; Edward Juvier Osgood; Tarra Conner Jones Sweet Sue; Jamie LaVerdiere Mulligan; Devon Goffman Spats; Devon Hadsell Minnie; Ashley Marie Arnold Ginger / Ensemble; Kelly Berman Ensemble; Darien Crago Nellie / Ensemble; Drew Franklin Ensemble; Devin Holloway Ensemble; Emily Kelly Vivian / Ensemble; Brianna Kim Ensemble; Stephen Michael Langton Austin Dunn Man With Suitcase / Ensemble; Jay Owens Sonny / Ensemble; Ranease Ryann Ensemble; Nissi Shalome Dolores / Ensemble; Michael Skrzek Toothpick Charlie / Bar Manager / Ensemble; Tommy Sutter Brian Thomas Hunt Mack / Ensemble; Swings: Ayla Allen; ↑ Austin Dunn; Tim Fuchs Dance Captain; Rachael Britton Hart; ↑ Brian Thomas Hunt. Vacation Swings: Ian Campayno; Adena Ershow.
Music Department (♯ indicates local): Marc Shaiman Composer, Co-Lyricist, Vocal Arranger; Scott Wittman Co-Lyricist; Mary Mitchell Campbell Co-Music Supervisor; Darryl Archibald Co-Music Supervisor; Bryan Carter Orchestrations; Charlie Rosen Orchestrations; Glen Kelly Dance and Incidental Music; Kristy Norter Music Coordinator; Mark Binns Music Director; Samuel Hoad Score Supervisor; Randy Cohen Keyboard Programmer; Sam Starobin, Tim Crook, Nicholas Schenkel, and Juan Matos Assoc. Keyboard Programmers; Sean McDaniel Drum Pad Programming; Julianne Merrill and Patchmaster Productions LLC Playback Engineer; Russel Bartmus, Charlie Savage, and Nathan Serot for 7th Avenue Music Service Music Preparation; Lexi Vollero Music Assistant; Larry Saltzman, Mike Morris, Ryan O’Connell, and Samuel Hoad Additional Music Production. Orchestra: Mark Binns Conductor / Keys 1; Nicholas Michael Johnson Assoc. Conductor / Keys 2; Matt Gallagher Trumpet 1; Chris Karabelas Drums; ♯ Jeff Driskill Reed 1 (Alto Sax / Flute / Clarinet); ♯ Sean Franz Reed 2 (Tenor Sax / Flute / Clarinet); ♯ Brett McDonald Reed 3 (Tenor Sax / Flute / Clarinet); ♯ Damon Zick Reed 4 (Bari Sax / Bass Clarinet / Clarinet); ♯ Aaron Smith Trumpet 2 / Flugelhorn; ♯ Charlie Morillas Trombone 1; ♯ Nick Daley Trombone 2 / Bass Trombone; ♯ Michael Valerio Acoustic Bass; ♯ Anthony Zediker Keyboard Sub; ♯ Eric Heinly Orchestra Contractor.
Production and Creative: Matthew López Book; Amber Ruffin Book; Casey Nicholaw Director / Choreographer; Scott Pask Scenic Design; Gregg Barnes Costume Design; Natasha Katz Lighting Design; Brian Ronan Sound Design; Josh Marquette Hair Design; Milagros Medina-Cerdeira Makeup Design; Christian Borle and Joe Farrell Additional Material; Steve Bebout Assoc. Director; John MacInnis Assoc. Choreographer; Buist Bickley Production Properties; Karen Moore Production Supervisor; Juniper Street Productions Production Management; Donavan Dolan Production Stage Manager; Witney M. Keeter Stage Manager; Jalon Payton Asst. Stage Manager; Kelley Lynne Moncrief Sub Asst. Stage Manager; DeAnn L. Boise Company Manager; 101 Productions Ltd. General Manager; The Booking Group Tour Booking Agency; Allied Global Marketing Tour Marketing & Press; Think Tank Social Media; The Telsey Office Casting.
Administrivia
I am not a professional critic. I’m a cybersecurity professional, a roadgeek who does a highway site and a podcast about California Highways, and someone who loves live performance. I buy all my own tickets, unless explicitly noted otherwise. I do these writeups to share my thoughts on shows with my friends and the community. I encourage you to go to your local theatres and support them (ideally, by purchasing full price tickets, if you can afford to do so). We currently subscribe or have memberships at: Center Theatre Group/Ahmanson Theatre; Broadway in Hollywood/Pantages Theatre; Pasadena Playhouse; The Soraya, and 5-Star Theatricals. We’re looking for the right intimate theatre to subscribe at — it hasn’t been the same since Rep East died (it’s now The Main, and although it does a lot of theatre, it doesn’t have seasons or a resident company), and post-COVID, most 99-seaters aren’t back to doing seasons (or seasons we like). I used to do more detailed writeups; here’s my current approach.
Upcoming ♦ Theatre / ♣ Music / ◊ Other Live Performance – Next 90ish Days (⊕ indicates ticketing is pending).
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