Let’s talk about contemporary musical theatre. If we look at your offerings on Broadway right now, we have:
1. The staples/“old reliables” (Phantom, Wicked, Lion King, Chicago, Hamilton),
2. Jukebox musicals (&Juliet, MJ, A Beautiful Noise, Moulin Rouge),
3. “Contemporary musical theatre”, or shows that are simple in nature, somewhat smaller and safer financially to produce, and appeal to modern music sensibilities (Six, Hadestown, Kimberly Akimbo),
4. Revivals of past favorites (Funny Girl, Sweeney Todd, Dancin', PARADE)
Now let’s talk about the ever-elusive “MGM" / "Old Hollywood" style musical.
Some of the key elements of these musicals include:
1. A big ol’ brass band,
2. Tap dancing. So much tap dancing,
3. A gorgeous ensemble of hoofers who can sing and smile and make your heart flutter,
4. Flashy, bright, classic costumes
These stories often highlight the dreams of stardom or the plights of showbiz, baby (think 42nd Street), and are often branded as “corny” or “cheesy” by the jaded contemporary audience.
I am here to make the case for the MGM/ Old Hollywood Musical.
In the 2022-23 Broadway season, we are being graced with not one but TWO musicals coded in the MGM/Old Hollywood style: Some Like It Hot, which opened to critical raves and is now playing at the Shubert Theatre, and New York, New York, which is set to begin previews on March 24th at the St. James Theatre just across 44th street.
While I am anxiously awaiting the opening of New York, New York and hearing that iconic Kander and Ebb song performed by a big, Broadway orchestra, I am going to focus this piece on Some Like It Hot.
Some Like It Hot, in the first 5 minutes, shows you the kind of night you’re in for: BIG brassy horns, beautiful costumes, stylized dancing, stylized dialogue (that classic old-Hollywood fast talking) and ENERGY BABY!
The novelty and scarcity of this type of show on Broadway makes it a wonder to behold when you find one that is done right. Casey Nicholaw is one of those director-choreographers who handles Old Hollywood material with reverence and tact, playing at a master level. Nicholaw, in my eyes, runs at the same level as Susan Stroman and Kathleen Marshall when it comes to MGM-style choreography and staging. He just gets it.
Nicholaw uses his acrobatic dancers for approximately 80% of the production, only stopping to give his leads ample time to harness the big brass-driven jazz score, scatting and tapping or standing center stage in picturesque moments of dreamy set design meeting-resounding vocal prowess. One moment in act two could be repurposed for the recently-announced La La Land musical. Magical is the only word.
In a marriage made in musical theatre heaven, Nicholaw’s direction and choreography are showcasing the newest score from Marc Shaiman and Scott Wittman, writing in my favorite style for this pair. The iconic duo behind Hairspray, Mary Poppins Returns, and most notably for this writer, SMASH, work best with a big brass band and bright Hollywood glitz. These two weave slow and yearning ballads that allow their leads’ vocals to soar, with ensemble numbers and big dance breaks, showing some of the best tapping and partner work I’ve seen on Broadway in a while. This music just makes you happy. I dare even the most cynical of theatergoers to keep a straight face as dancing waiters throw chorines with musical instruments fully above their heads. Try not to tap your toes. I dare you.
Now, let’s talk about the stars bringing this big bright musical to life.
The talents of J. Harrison Ghee deserve every potential accolade. As Jerry/Daphne, Ghee (who is non-binary and uses he/they pronouns) traverses a very tricky role with earnest charm, grace, and attitude that immediately puts you on their side and makes you root for their journey. I am obsessed with their voice and in awe of their natural stage presence in the variety of numbers and styles that they are asked to sing and dance. Their chemistry with the scenery-eating Kevin del Aguila is earnest and genuine, grounded in trust and truth.
I’ve been a Christian Borle fan since I was 10 years old, and he was Emmett Forest in Legally Blonde: the Musical. I always appreciate his ability to go from zany to charming to genuine and back to zany, but I was shocked by how well he performed Nicholaw’s incredibly acrobatic tap choreography. I love hearing Borle sing this style, and it reminded me how much I miss SMASH.
Adrianna Hicks is a star. A bonafide star. Her big eyes and bright smile immediately steal your attention and your heart, and when she opens her mouth to sing? The audience is hers. We are in her pocket and she’s taking us home. She was a perfect choice to take on the iconic Marilyn Monroe role of Sugar Cane. After seeing her in Six and now this? I’m pretty sure there’s nothing this woman can’t do.
Who really steals the show, however? Miss Natasha Yvette Williams. Her scatting, singing and comedic timing are worth the price of admission. She also had some of my favorite costumes in the show. I’m just grateful they gave her so many numbers to sink her teeth into, so we got to watch her for most of the show.
I get that musical theatre is expensive to produce. Big bands are expensive. Flashy costumes, too. I am not knocking the practical business decisions that go into producing theatre in 2023. Shows like this are a risk. I’m also not discrediting the effectiveness or overall impact that pared-down contemporary musical theatre pieces have had on the industry.
I do, however, think there is something to be said about the joy and escapism that comes with watching a story with some glitz, glamour, a little cheese (call it old Hollywood charm), and positive energy to power all of 44th street. In my opinion, the risk is worth it tenfold.
***As a cisgender straight white woman, I recognize the various levels of privilege with which I took in Some Like It Hot. I have read many of the published pieces commenting on this show and its continuation of the “man in a dress” trope on Broadway, and I do not feel that my voice was a necessary addition to that discourse overall, so I chose to abstain from that commentary in this piece. I deeply respect the members of the LGBTQ+ community who have spoken about their opinions of the show and understand that those with life experiences different from mine will view Some Like It Hot through a vastly different lens.
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