A revised Sugar with additional songs would tour nationally between 2002 and 2003 as Some Like It Hot: The Musical, boosted by the casting of film star Tony Curtis as elderly millionaire Osgood.

In order to escape gangster Spats Palazzo and his henchmen, they dress as women and join Sweet Sue and Her Society Syncopaters, an all-female band about to leave town for an engagement at a Miami Beach hotel.

Complications arise when Joe, now known as Josephine, falls in love with beautiful band singer Sugar Kane, who has a slight drinking problem that tends to interfere with her ability to choose a romantic partner wisely.

Produced by David Merrick and directed and choreographed by Gower Champion, Sugar opened on Broadway at the Majestic Theatre on April 9, 1972 after 14 previews and closed on June 23, 1973 after 505 performances.

It starred the singer Enrique Guzmán and the actors Héctor Bonilla (alternando con Xavier López "Chabelo") and Sylvia Pasquel.

Susana Giménez as Sugar Kane, Arturo Puig as Joe/Josephine and Ricardo Darín as Jerry/Daphne was the stars of this version accompanied by Norma Pons and Ambar La Fox, with Gogó Andreu as Osgood Fielding Jr.

[11] In 1990, a production of “Sugar” was staged at the theatre Pozorište na Terazijama in Belgrade, then Yugoslavia (modern day Serbia), under the title Some like it hot (Neki to vole vruće).

The show was directed by Soja Jovanović, with Svetislav Goncić as Jerry/Daphne, Rade Marjanović as Joe/Josephine, and Ivana Mihić In the titular role of Sugar.

Over the years, almost all of the original cast members have left the show, except for the two principals in the roles of Jerry and Joe, who were the ones most responsible for the enduring success of the production.

[12] The West End production, starring Tommy Steele, opened at the Prince Edward Theatre on March 19, 1992 and closed on June 20, 1992.

[13] A 2002-03 United States national tour starred Tony Curtis as Osgood Fielding Jr. in a revised production, titled Some Like It Hot: The Musical.

But in the past three years, Company and Follies have altered the critical perspective by providing a musical form that is spare, intelligent, ironic, mature and capable of sustaining three-dimensional characters."