THE billboard poster outside Joseph Rowntree Theatre announces Sugar and Some Like It Hot in equally big letters, and why not, because the 1959 film that inspired the song-and-dance spin-off is the strongest selling point.

Truth be told, the 1972 musical is not so hot by comparison with that film, the one with Tony Curtis and Jack Lemmon in drag and Marilyn Monroe all a’wiggle. However, such is the abiding affection for Billy Wilder’s movie that it is nigh on impossible not to enjoy re-visiting its familiar storyline, re-booted with songs in the Twenties’ fashion by Jule Styne and lyricist Bob Merrill.

Peter Stone’s book sticks as closely as a man-marker to the original story, even ending on the same unforgettable line as the movie. No one will feel a sense of familiarity more than Jo Pears, who first played no-nonsense band leader Sweet Sue 22 years ago; and here she is, immaculate and brisk on baton duty once more, leading her band Sweet Sue And Her Society Syncopators, with husband Don Pears wielding his baton simultaneously as the show’s musical director.

Plenty of experience goes into this production, not only Jo and Don but also director and choreographer Ann McCreadie and scenery designer Robert Readman; Alan Rome as the harassed band manager, Bienstock; and Carolyn Richardson, so often the New Earswick leading lady, as Sugar Kane, the sweet-voiced Monroe role that finds Carolyn acquitting herself well in a comic role while singing with her customary panache.

The real fun belongs to Stephen Padfield and Alex Papachristou, who transform themselves from out-of-work musicians Joe and Jerry into the Syncopators’ new additions, Josephine and Daphne, when they must flee Chicago after witnessing the St Valentine’s Day Massacre. Padfield arguably enjoys himself even more in the guise of an oil magnate, his bold front to seduce Sugar.

Papachristou, meanwhile, has previous form for this cross-dressing lark, having dazzled as outspoken mum Edna Turnblad, a gloriously frank vamp in drag in Hairspray last November.

Daphne, by comparison, does not require him to turn the acting volume up to 11, but asks him be less at home in heels and wigs until growing in confidence, leading to the amusing interplay with his beguiled suitor, the oft-married millionaire Sir Osgood Fielding (Ian Small).

Papachristou is not alone in making his New Earswick debut. Another of the York scene’s most talented young lights, Oliver Tattersfield, cuts a dash as crime boss Spats Palazzo, who tap-dances through his every moment on stage, his rat-a-tat-tat matched by the gunfire that finishes him off, his dancing feet dancing to the very last.

Look out for Martin Rowley’s cameo a as dunce-headed hoodlum, another joy of a show where the performances are rather more memorable than the songs.

Sugar, New Earswick Musical Society, Joseph Rowntree Theatre, York, until Saturday. Box office: 01904 768182/623568.