@showsiveseen #AliciaKeys & Kristoffer Diaz's "Hell's Kitchen" jukebox #Broadway #musical starring @maleah???? (Understudy Amanda Reid) at the Shubert #Theatre . Loved Kecia Lewis's sage matriarchal portrayal. Excellent sound design from Gareth Owen. #Review : showsiveseen.com/12020 Director: Michael Greif Choreography: Camille A Brown Conductor: Lily Ling Stage Mgrs: Danny Maly, Roxana Kahn, & Anthony Rigaglia @Alicia Keys @Hells Kitchen #showsiveseen ♬ Girl On Fire (Glee Cast Version) – Glee Cast
Elevator Thoughts (aka Tweet): Alicia Keys & Kristoffer Diaz’s Hell’s Kitchen jukebox musical starring Maleah Joi Moon (Understudy Amanda Reid). Loved Kecia Lewis’s sage matriarchal portrayal. Excellent sound design from Gareth Owen.
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Was This the First Time I Attended a Production of this Show? Yes
Would I See It Again 3 Years from Now? Yes
Mainstream Appeal: High
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes
My Synopsis (No Spoilers): A spirited teenager from urban Manhattan navigates adolescence (think rebellious boy-crazy teenager) while discovering her innate musical talent. With guidance from her wise old neighbor, she hones her skills and finds her true voice in the process.
Synopsis from the Licensor or Theatre Company: Ali is a 17-year-old girl full of fire – searching for freedom, passion and her place in the world. How she finds them is a New York City coming-of-age story you’ve never felt before – HELL’S KITCHEN, a new musical from 17-time Grammy® Award winner Alicia Keys, whose songs and experiences growing up in NY inspire a story made for Broadway. Rebellious and stifled by an overprotective single mother, Ali is lost until she meets her mentor: a neighbor who opens her heart and mind to the power of the piano. Set to the rhythm of the 90s, HELL’S KITCHEN is a love story between a mother and daughter. It’s about finding yourself, your purpose, and the community that lifts you. Come remember where dreams begin.
Type: Musical
World Premiere: Technically no, since it was originally produced off-Broadway
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Mostly dynamic
Prior Exposure/Knowledge Required: You’d probably appreciate this show more if you’re familiar with Alicia Keys’s discography
Defined Plot/Storyline: Yes
Live Band/Orchestra: Yes
Union Actors: All
Total Actors: Too many to count
Perceived Pace of the Show: Medium speed
Was there an intermission? Yes
Length (Including Any Intermission): 2.5 hours
Other Rave(s)
- Hook: The musical opened with an energetic burst of street dancing that immediately captured the audience’s attention. Too often, musicals start too subtly, losing momentum right away. Unfortunately, after this dazzling introduction, the plot lost some of its initial spark. However, the production eventually found its rhythm and hit its stride.
- Miss Liza Jane: Kecia Lewis delivered a standout performance as Miss Liza Jane, the sage and formidable neighborhood piano teacher. Her portrayal reminded me of my own strict piano instructor growing up who was skillful, wise, and deeply passionate about her craft. Miss Liza Jane embodied the very spirit of “Black Excellence.” She was a mentor who would undoubtedly champion its importance at every opportunity.
- Sound Design: Sound engineering is often best when it goes unnoticed. But in this performance, it stood out in all the right ways. The balance of reverb and echo was perfectly calibrated. Even the smallest detail like the crisp, precise sound of a chopping knife was crystal clear. Whether it was the result of top-tier microphones or the natural acoustics of the Shubert Theatre, I was impressed. As this show embarks on its national tour, I hope the sound design in each venue lives up to this original NYC Broadway production.
- Smooth Male Leads: This performance often radiated a captivating, smooth male energy. Brandon Victor Dixon’s voice was effortlessly smooth and it perfectly embodied the Davis character who was a charming yet flawed father full of empty promises. He was the type of man who can sweep you off your feet, only to disappoint you in the long run. In contrast, Phillip Johnson Richardson (who played love interest Knuck), also brought a smooth vocal quality to his performance, but his character was intentionally written to be less of a “playa” than Davis. Knuck refreshingly portrayed a regular non-thug man who went to church and didn’t want to be admired on a pedestal. It was an interesting contrast between these two characters, especially when you consider the old saying that we tend to date people with similar personalities as our parents.
- Jersey: Jessica Vosk portrayed the role of a no-nonsense prickly urban mom who clearly loved her child. Her performance brought to mind Sheryl Lee Ralph’s iconic portrayal of the tough-love mother in Sister Act II who famously declared, “Singing does not put food on the table!” Vosk captivated the audience as she showcased her powerful vocal belt in the high notes of a song that explored the complexities of parenthood.
- Tragedy: A heartbreaking moment in the second act clearly moved the audience. I could hear soft sniffles and see glistening tears nearby. I *might* have shed a tear myself. 😛 At one point, the person behind whispered to her friend, “Am I crying?!?” It’s a powerful reminder that great art can stir emotions.
- Altercation: Speaking of raw emotions, one standout moment was the scene between Ali (played by Maleah Joi Moon) and Jersey engaging in an impassioned argument between an angsty rebellious teenager and a tired strict parent. The exchange was charged with tension, featuring two delicious “oh snap!” moments of physical outbursts.
- Choreography: Camille A. Brown’s choreography felt purposeful and meaningful. Many moments, such as a poignant dance solo during a funeral scene, showcased interpretive dance-like movement to convey emotion and enhance the storytelling.
- Piano: As expected from an Alicia Keys musical, piano music played a central role, weaving together jazzy and bluesy melodies rich with vibrant dissonance.
- Costume Design: Costume designer Dede Ayite expertly recreated the aesthetic of 1990s urban fashion, particularly through the use of iconic pieces like Tommy Hilfiger and FUBU. The wardrobe choices evoke a nostalgic vibe, reminiscent of the style in Sister Act II.
Rant(s)
- Ali: Ali was not written as a particularly likable protagonist. The “nobody understands me” rebellious teenager trope always annoys me. In her romantic relationship, she gave away her cards too easily. She was the female equivalent of a guy who disregards a woman’s boundaries and refuses to take no for an answer. While this might be seen as a feminist portrayal, she came across as selfish. Ali’s self-absorption was so intense that she failed to recognize the tragedy unfolding right in front of her until it was too late.
Other Musing(s) and Observation(s)
- “Empire State of Mind” Song: As an Alicia Keys jukebox musical performing literally next to the Hell’s Kitchen neighborhood, it’s no surprise that “Empire State of Mind” was featured on the setlist. Unfortunately, its inclusion felt awkward and out of place within the show. Rather than seamlessly fitting into the narrative, it seemed more like a pandering attempt to capitalize on the song’s popularity. The performance also began in a key that was too low. While I certainly enjoyed hearing the song, it would have been much more impactful earlier in the show when Ali first expresses her love for New York City. It’s strange how the musical began as an ode to NYC, only to eventually abandon that theme. Similarly, the title and synopsis seem to suggest a deeper connection to NYC or the Hell’s Kitchen neighborhood, yet the story didn’t fully explore these elements.
- Manhattan Plaza: Many scenes took place in the Manhattan Plaza building, which in reality is subsidized housing. However, the musical didn’t depict it like a low-income building. It seemed like a luxury high-rise in the musical, complete with a doorman and a grand piano. Weirdly, Ali ungratefully complained about feeling like a prisoner in a tower. Perhaps it’s due to my suburban background, but I’d love to live in a New York City high-rise like that. Give me that ivory tower!
Venue: Shubert Theatre
Venue Physical Address: 225 W 44th St, New York, NY 10036
Venue Classification: Broadway
Price Range: $58 to $321
Ticket Affordability Options: You can likely buy discount tickets at the TDF TKTS booth.
Seating: Assigned Seating
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Pictures: See production pictures below by Marc J Franklin.
Cast and Production Team: See after pictures below.
