Normally, jukebox musicals, which are scripts created from pre-existing music, have songs shoehorned into what is generally an acceptable, but less-than-well-written story (think Moulin Rouge! The Musical and Mamma Mia!).
This is not the case with Hell’s Kitchen, the semi-autographical, Alicia Keys-centered musical, now onstage the Connor Palace Theatre as part of the Key Bank Broadway series. This show is a compelling, song/dance-infused, well-written and -crafted show, which has all the elements of what a contemporary musical should be.
Keys was heavily involved in creating the musical. Kristoffer Diaz’s book is well-developed and is one of the few books for this type of show that deserves kudos. The music, which is a blend of R&B, soul, and hip-hop, often characterized by Keys’ classical piano skills and some electronic compositions, is infectious.
Many of the songs turn into show-stopping musical concerts, complete with complex dancing and visual electronics. Even the ballads lend themselves to individual and group movement. All of these are well-choreographed.
Using moving platforms and scaffolds, Robert Brills’ sets and Peter Nigrini’s electronics become part of the emotional dynamics. Gareth Owen’s sound design allows for hearing words clearly, even with the loud musical sounds.
Compositions include “The River,” “Seventeen,” “You Don’t Know My Name,” “Girl on Fire,” “Perfect Way to Die,” “Fallin’,” “No One,” and “Empire State of Mind.”
Alicia Keys, according to this narration, is a 17-year-old girl named Ali, being brought up in Manhattan by an over-protective single mother and a sometimes present, but mostly absent, father. Ali feels, as many teenagers do, stifled by all the rules and constant supervision.
We are introduced to the people in Ali’s life: the musicians who make up the artist housing in Manhattan Plaza; her friends, Tiny and Jessica; her mother Jersey, a singer and working woman; Knuck, a bucket drummer, who is part of a group that hangs out in the building, as well as her in-and-out-of-her-life musician father. Most importantly, we meet Miss Liza Jane.
Miss Liza Jane, who consoles her by pointing out the situation could be much worse, reflects on the racism she has experienced, and urges Ali to continue learning to play piano so she may continue a legacy of music. In the process of learning and hearing Miss Liza Jane’s sage advice, Ali gains a self- identity and finds out what it means to be a member of a community.
The superb cast is headed by 18-year-old Maya Drake as Ali. According to the program notes, this is her professional debut and she has limited academic training. She is not a product of a prestigious musical theater program such as University of Michigan or NYU. From her stellar performance this is shocking. This is a talented young lady who can sing, dance, act and control the stage with seeming natural ability and ease. Standing ovation here!
Roz White hits all the right musical and emotional notes as Miss Liza Jane. Kennedy Caughel is totally believable as Ali’s frustrated mother, trying to handle her own stresses along with being the parent of a teenage daughter. Desmond Sean Ellington is incorrigibly correct as Ali’s slacker father. Jon Avery Worrell has just the right tone for Ali’s boyfriend.
The choreography is dynamic. The high intensity movements compel attention. Congrats to not only Camille A. Brown, the choreographer, but to the outstanding members of the dance company, whose singing matched their physical skills.
Director Michael Greif’s creative genius is obvious. His staging is outstanding.
CAPSULE JUDGEMENT: The touring production of Hell’s Kitchen is special. It far succeeds the expectations for a jukebox musical. The director, choreographer, music supervisor, technical staff, cast and crew well deserved the extra-long standing ovation the production received. It is a show I could see again and again and be satisfied each time.
Hell’s Kitchen runs through November 1, at the Key Bank State Theatre.
Tickets can be purchased at 216-241-6000 or playhousesquare.org
[Written by Roy Berko: member, Cleveland Critics Circle And American Theater Critics Association]