Kansas City Sun
by Michael D. Smith
Sun Entertainment Editor

     While the temperature was certainly high Tuesday evening at Starlight Theatre, the real heat that was being generated came from the stage, not the sun when the curtains raised on the musical production of ³Some Like It Hot,² starring Tony Curtis.
     Adapted to the stage from the 1959 film, 'Some Like It Hot' is a generally solid presentation with some good laughs, predominately contained within Act II; strong vocals, punctuated by the talented and amazingly beautiful Jodi Carmeli; and terrific dance numbers.
     The well-known story follows two struggling, prohibition era musicians, Joe (Arthur Hanket) and Jerry (Timothy Gulan), who disguise themselves as women and join an all-girls band bound for Miami after the duo witnesses the St. Valentine¹s Day Massacre.
     With the mobster Spats (William Ryall) on their trail, Joe/Josephine and Jerry/Daphne try to keep their composure while living with a group of beautiful female musicians. Despite their efforts, Joe falls for the band¹s lonely, near-alcoholic lead singer, Sugar (Carmeli), and Jerry becomes engaged to a rich millionaire, Osgood Fielding III (Curtis).
     Hanket and Gulan were, simply put, excellent casting choices in regards to their vocal abilities. Their individual voices are well-suited for the other¹s during the duets with neither overwhelming the other; best exhibited during 'Penniless Bums.' Their comedic timing could be a little crisper though.
     Carmeli is mesmerizing on the stage. She exudes a certain, undescribable glow about her that grabs your attention like steel trap. Her vocal projection during her solo ³People In My Life² during Act II is outstanding to say the least.
     The highlight of the show is the exciting tap number 'Tear The Town Apart,' led by Ryall who towers over the ensemble that supports him with his sheer height advantage.
     Certainly, the biggest round of applause during opening night came opening night came when Curtis first took the stage near the end of Act I. Curtis does a little dancing and a little singing but nothing too elaborate or demanding. His performance is most bouyed by the wit and charm he¹s able to infuse into the role.
     Terrific costumes and wonderful backdrops add the final touches to a fun, light-hearted production that has translated well from film to stage.

To contact Michael D. Smith, send e-mail to msmith@sunpublications.com.