"Some Like It Hot" Broadway tour at the Orpheum Theatre

I saw the new musical adaptation of the 1959 comedy classic film Some Like It Hot on Broadway in 2023, and loved it more than I expected to. I was unfamiliar with the film at the time, but have since learned that the musical stays fairly true to the plot of the film, but with a few tweaks that make it feel refreshingly modern and relevant. When I saw it on Broadway I wrote, "this is a show that is perfect for touring." It is at its heart an old-fashioned musical comedy show, with a fabulous score, thrilling dance numbers, and hilarious comedy that I heard an audience member refer to as "corny as hell." But it's almost subversive in the way that it works in issues of trans acceptance, feminism, and overcoming racism. I'm thrilled that it's touring around America in this time when we need more of all of that, and that one of the first stops on the tour is right here in Minneapolis. So don't walk, don't run, but tap briskly down the street as if gangsters were chasing you to get to the Orpheum Theatre to see this fantabulous new musical before Joe, Daphne, and the gang tap on out of town! Click here for tickets, including student/educator rush tickets.

NYC Theater Trip 2023: "Some Like It Hot" at the Sam S. Shubert Theatre

Show*: 4

Title: Some Like It Hot

Location: Sam S. Shubert Theatre

Written By: book by Matthew Lopez and Amber Ruffin, music by Marc Shaiman, lyrics by Scott Wittman and Marc Shaiman

Summary: An adaptation of the 1959 movie, set in the prohibition era, about two musicians who don drag to escape from the mob.

Highlights: I wasn't expecting to love this one as much as I did; in fact, it might be my favorite of the six shows I saw on this trip. I've never seen the movie, but my friend assures me that this musical adaptation hues very close to the original (which she also tells me is regarded as one of the best movie comedies ever), with a few additions to make it more current that feel organic to the story, not forced to make a point. After Joe becomes Josephine and Jerry becomes Daphne, they join an all-women band led by Sweet Sue (the fabulous NaTasha Yvette Williams) traveling across the country to California. Serial dater Joe (there's a joke about him not remembering any woman's name) falls in love with the lead singer with Hollywood dreams, Sugar (SIX's Adrianna Hicks in a star turn). After befriending her as Josephine, Joe dons the disguise of a German screenwriter, allowing the uber talented Christian Borle to have lots of fun playing three different roles and accents. Unlike Joe, Jerry slowly discovers that he feels more like himself as Daphne than he ever has (an authentic performance by non-binary drag performer J. Harrison Ghee who wows as both versions of the character). The bad guys eventually catch up to our merry band of musicians, culminating in a tap-dancing chase scene that is simply the best thing ever. The fact that our characters are musicians allows for many fun show-within-the-show numbers, and this jazzy score by Hairspray writers Marc Shaiman and Scott Wittman is so great I immediately downloaded the cast recording. This is a show that is perfect for touring, a crowd-pleaser that's also really well written (by playwright Matthew Lopez and comedy writer/performer Amber Ruffin) and executed (director/choreographer Casey Nicholaw keeping things light and fun). It's based on a movie people love; it has an old fasioned musical comedy vibe, a fantastic score, and super fun dancing; and it's almost subversive in the way it works in issues of trans acceptance, feminism, and overcoming racism. And this is even without mentioning the gorgeous and versatile art deco set, the bright and lovely period costumes, and the awesome band - half of which is on stage for the entire show! This is movie adaption done right - a great score and book with slight tweaks to the original, making it feel current and relevant without changing what still works.

*Once again, I'm using an abbreviated Fringe-style summary for my NYC 2023 trip, since I am in the greatest city in the world with much more exciting things to do than write! Click here to see all of my Broadway-related blog posts.

"Charlie and the Chocolate Factory" Broadway Tour at the Orpheum Theatre

British author Roald Dahl's 1964 novel Charlie and the Chocolate Factory is one of our most beloved, magical, and somewhat twisted children's books. The 1971 film adaptation starring Gene Wilder is iconic (the 2005 Johnny Depp version less so). Perhaps due to the success of the musical adaptation of one of Roald Dahl's other beloved novels, Matilda (receiving its regional premiere at Children's Theatre Company this spring), Charlie was also adapted into a musical. It premiered on Broadway in 2017, where it ran for under a year and didn't make much of a splash, so I went to the Broadway tour last night with not very high expectations. Which is often the best way to see a show, and be pleasantly surprised at what is a charming and delightful musical. There were a lot of children in attendance (about whom I was a bit worried in some of the more gruesome moments of the show), and all seemed to be enjoying the magic and wonder of the story. In fact I'd love to see CTC produce this Roald Dahl story once it becomes available for regional productions (perhaps the more successful West End version). In the meantime, you have two weeks to visit the Chocolate Factory on Hennepin Avenue in Minneapolis (click here for more info, including student/educator rush tickets, and "Kids Night on Hennepin").

"Catch Me If You Can" at the Orpheum Theatre

If you've read this blog before, you know that I'm not a huge fan of movies made into musicals, preferring instead to see original and creative work written for the stage. But I was curious about Catch Me If You Can*, based on the 2002 Spielberg movie, which was in turned based on Frank Abagnale Jr.'s 1980 auto-biography about his life as a highly successful teenage con artist in the 1960s. It's a fascinating story in any format - how this young and incredibly intelligent man was able to impersonate a pilot, a doctor, a lawyer, and presumably anyone he wanted to be. Lucky for us he now uses his powers for good, not evil; after spending time in US and European prisons, he's worked for the FBI for 36 years, helping to prevent the crimes he perfected. It's no wonder someone wanted to turn this story into a musical. I found it to be, while not the perfect musical, genuinely enjoyable and entertaining. With few exceptions the songs are fast and catchy and fun, the choreography and dancing is of the high standards of Broadway, and the set and costumes transport the audience back to the 60s, as seen through the bright and happy TV shows of the era (more Laugh-In than Mad Men, and especially bringing to mind the underrated and over-before-its-time Pan Am). All in all a successful adaptation of a movie that did not seem to be crying out to be made into a musical. But with successful musical theater creators Terrence McNally (book), Marc Shaiman (Music and Lyrics), and Scott Wittman (Lyrics), it works. Act fast if you're interested - it's playing at the Orpheum Theatre through this weekend only.

A few other thoughts on the show:

• A trio of great voices belonging to charismatic actors lead the show. Dominic Fortuna (who seems to have wandered over from Jersey Boys) is sympathetic as Frank's down on his luck dad, whose schemes are never quite as successful as his son's. Merrit David Janes is FBI Agent Hanratty, who's trying to catch Frank, and eventually does. It's a role that won Norbert Leo Butz a Tony last year, and Merrit gives it the energy and humor required. Last but not least, Stephen Anthony is the star of the show as our charming hero/antihero. He's got a great voice and inhabits all of Frank's various guises with ease, while still letting us see the lost and searching boy underneath.
• The obligatory romance is one of the least successful subplots; the real relationship driving the show is between Frank and Hanratty. Though they only share a few scenes together, theirs is the most interesting relationship and most compelling chemistry.
• The ensemble is fantastic in their 60s wardrobe; they look, move, and sound great.
• The show is set up as Frank telling his story on a 60s variety show, complete with colorful graphics displayed on the backdrop of the stage, and an awesome band onstage, dressed in white tuxes.
• The score is energetic and fun; highlights include "Don't Break the Rules" (Hanratty's shining moment), Frank's emotional "Good-Bye," and the final duet between Frank and Hanratty - "Strange But True," which pretty much sums up the plot. 

On the night I attended, "the real Frank Abagnale Jr." was there for a Q&A after the show. He just happened to be in town speaking to US Bank about fraud prevention, and popped into the theater to talk to the audience. It was obvious from his answers that he's been talking about this for a long time and has been asked everything multiple times. But it was fascinating to hear more details about his story from the man who lived it, and find out what is real and what is Hollywoodized or Broadwayized. As for the musical version of his story, he said, "I kind of even like it more than the movie." I think I kind of agree.

Stephen Anthony as Frank leads the cast of Catch Me If You Can

*I received one complementary ticket to Opening Night of Catch Me If You Can.