SOME LIKE IT HOT Original Broadway Cast Recording Thread — Page 2

I listened to the album and, while no number grabbed me, it’s very well produced and the cast is certainly giving their all. I’m thinking it’s probably a lot of fun to see live if it moves along at a steady clip…

Oh man, I was rooting for this but I only made it about halfway through before my ears got tired. Some nice melodies but every song is a capitol-P Pastiche and the tortured syntax to get to the rhymes verges on illegibility at times. It's almost the reverse of Mr Saturday Night - I really liked that score, and didn't understand until I saw the proshot why everyone hated the show, and in this case, I don't like the score, but I want to see the show to understand what I'm missing!

BdwyFan said: "Just fantastic! Best cast album of the season for sure! This one’s a winner! Congrats all."

Between this and Funny Girl musical theater heaven , gonna be a closs race at next years grammys

Considering the fact our heroes are on the run and traveling cross-country from Chicago to California, one might feel inclined to call this musical Catch Me If You Can 2.0.

This is also the case with the score, which was written by the same team. For Some Like It Hot, Shaiman and Wittman have written a delightful, brassy, jazzy score full of potential earworms, one-upping Catch Me IMO. It's right in their wheelhouse.

Some of the numbers, especially in Act I, start to sound kind of the same, but when that sameness is uptempo, emphatic Jazz Age pastiche with fantastic orchestrations, it's hard to resist. There's a bit more variety in Act II, and the repurposed "Let's Be Bad", now with new lyrics, fits like a glove.

I was anxious to hear "You Coulda Knocked Me Over With a Feather" after the reception I heard it was getting live. Ghee sounds great, but it sounds like a reprise of "Big, Blonde, and Beautiful." There were also a couple of songs in this score that reminded me of the under-appreciated Martin Short: Fame Becomes Me.

Do the Society Syncopators play their own instruments in this show, or is it just fake-playing?

The Act I finale is the title song, which remains as catchy as ever, and it reminds me of just how excellent a lyricist Wittman is, one of the best right now. NaTasha Yvette Williams is one of the MVPs of this album, and if the show sticks around long enough, I would love to see Capathia Jenkins or even Mariah Carey herself take over for Sweet Sue.

I didn't really buy Christian Borle's "woman" dialect... how is he live?

All in all, I liked this album more than I thought I would. There's a good amount of sugar, but I was just looking for a bit more spice. Shaiman and Wittman, for me, have been hit-or-miss ever since Hairspray, though they've written several decent songs since. This score didn't have to be perfect — just ask Osgood — but it's very, very good.

Some Like It Hot ain't that bad.

Updated On: 3/24/23 at 06:51 PM

Started listening to this on my way to my performance of Chicago this afternoon - made it to "A Darker Shade of Blue"

So far it's a delight. I can see this show having a long life post-Broadway, be it on tour or licensing local theaters.

“I didn't really buy Christian Borle's "woman" dialect... how is he live?”

Part of the joke of Joe/Josephine is just how ridiculous and bad his disguise is. Daphne can definitely ‘pass’, but there isn’t a moment where you believe Borle is a woman, and multiple times in the show the character is on the receiving end of deprecating jokes and is the comedic foil to the heart of the show which is Daphne. The costume, accent, physical comedy bits and overall awkward demeanor in the disguise make for multiple laughs throughout the evening.

Is it just me or does Kevin Del Aguila sound SOO much like Brian D'arcy James sometimes when he sings? I hear it every time he says "do my hips need some translating" in Let's Be Bad.