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Sugar: A Sweet West End Escapade

Sugar, a musical with a book by Peter Stone, music by Jule Styne, and lyrics by Bob Merrill, brought the zany charm of the 1959 film *Some Like It Hot* to London’s West End in 1992. Opening at the Prince Edward Theatre on March 19, the production starred Tommy Steele and ran until June 20, clocking in a modest 93 performances. Directed by Larry Fuller and produced by Harry Goodridge, this adaptation of Billy Wilder and I.A.L. Diamond’s screenplay traded on prohibition-era hijinks and cross-dressing comedy, delivering a frothy theatrical romp that echoed its cinematic roots while carving its own niche in West End history.

From Broadway to the West End

Sugar debuted on Broadway in 1972, running for 505 performances with Robert Morse as Jerry/Daphne and Tony Roberts as Joe/Josephine. Its West End journey began two decades later, with Tommy Steele a British entertainment icon taking on the dual role of Jerry/Daphne, joined by Royce Mills as Joe/Josephine and Sheena Easton as Sugar Kane. The 1992 London production released a cast recording, preserving its spirited take on the tale. Though its run was brief compared to Broadway, it capitalized on Steele’s star power and the enduring appeal of the *Some Like It Hot* story, offering a nostalgic nod to classic musical comedy.

The Plot: A Madcap Masquerade

Set in 1929 Chicago, Sugar follows two struggling musicians, Jerry and Joe, who witness the St. Valentine’s Day Massacre and flee gangster Spats Palazzo. Disguising themselves as women Daphne and Josephine they join Sweet Sue’s all-female band bound for Miami. Complications pile up as Joe falls for the band’s sultry singer, Sugar Kane, while Jerry fends off the amorous millionaire Osgood Fielding Jr. The plot races through speakeasies and sunny beaches, blending slapstick humor with romance, all tied up with a jazzy flourish as the duo’s true identities unravel in a whirlwind of mistaken identities and mob chases.

Performances and Production Highlights

Tommy Steele’s turn as Jerry/Daphne anchored the West End production, his charisma and comedic timing lighting up the Prince Edward stage. Sheena Easton brought vocal dazzle to Sugar Kane, while Royce Mills’ Joe/Josephine added a smooth foil to Steele’s antics. The supporting cast, including Billy Boyle as Spats and Hugh Futcher as Osgood, enriched the ensemble. Gower Champion’s original Broadway choreography, adapted by Fuller, kept the energy high with tap routines and band numbers, while Sean Kenny’s sets evoked the era’s glitz. The cast recording captures standout moments, making it a cherished memento of this fleeting run.

Musical Score and Reception

Jule Styne’s score, paired with Bob Merrill’s lyrics, swings with prohibition-era zest. Songs like “Penniless Bums,” “The Beauty That Drives Men Mad,” and “When You Meet a Man in Chicago” brim with toe-tapping verve, while “Sugar” and “Hey, Why Not!” spotlight the leads’ charm. Critics found the music hummable but not groundbreaking, with some noting its old-fashioned feel amid the 1990s West End landscape. Reviews were mixed praising Steele’s star turn but suggesting the show lacked the film’s bite. Its short run reflected a tepid audience response, though fans of classic musicals embraced its lighthearted nostalgia.

A Brief West End Legacy

Sugar’s 1992 West End stint didn’t match the longevity of its Broadway predecessor or the film’s cultural heft, closing after three months. Yet its cast recording and Steele’s involvement kept it alive in theatre lore. The show’s journey continued globally, with productions in Mexico City (1975), Buenos Aires (1986), and a 2002 U.S. tour as *Some Like It Hot* starring Tony Curtis as Osgood. In London, it remains a footnote a sweet, if short-lived, detour in the West End’s musical tapestry, overshadowed by flashier contemporaries like *Cats* and *Miss Saigon*.

Why Sugar Still Sparkles

Sugar’s appeal lies in its unapologetic fun a throwback to an era of broad comedy and big bands. Steele’s magnetic presence and the story’s timeless premise of disguise and desire give it a lingering glow, even if it didn’t ignite the West End box office. It’s a testament to the enduring pull of *Some Like It Hot*, reimagined with a theatrical twist that swaps celluloid for footlights. For those who caught it or snag the cast album it’s a delightful dose of escapism, proving that even a brief run can leave a sugary aftertaste.