By Michael Buzzelli
Ali (Maya Drake in her professional stage debut) navigates the mean streets of Manhattan while sparring with her mother, Jersey (Kennedy Caughell), and chasing after bucket-drumming street performer, Knuck (Jonavery Worrell), in Alicia Keys’ musical, “Hell’s Kitchen.”
Ali is a latchkey kid in a New York City high-rise. Her mother wants to keep her off the streets, but, of course, that’s where Ali wants to be. Her attraction to Knuck will not be denied; she follows him to work, and they share a kiss in Gramercy Park, thus beginning her “Teenage Love Affair.”
When things go wrong, she seeks refuge in the Ellington Room, where she meets the imperious Miss Liza Jane (Roz White), who teaches her piano lessons. The piano is where Ali discovers her true self.
Jersey, at her wits’ end, calls on Ali’s deadbeat dad, Davis (Desmond Sean Ellington), to help with their child. Unfortunately, Davis complicates matters even more. He trying to be a good father, but his musical career comes first.
‘Hell’s Kitchen’ is a jukebox musical with a hip-hop vibe. It’s a showcase of phenomenal talent. While there is an incredible display of skills, there isn’t much of a story there. Like all jukebox musicals, the story is hung around the songs, instead of the other way around. It’s a series of life lessons and anecdotes from a fictionalized biographical version of Alicia Keys’ life.
The aforementioned songs, however, such as “Girl on Fire,” “Fallin’,” and “Empire State of Mind,” are all excellent.
Drake is amazing in the lead. The girl is literally on fire. She has the charm and charisma of a Broadway star. Even when she’s bowing her head in shame, and she’s just a pile of rumpled clothes and hair, it’s hard to take your eyes off of her.
Caughell is an outstanding performer. Her character’s pain of motherhood feels lived-in, honest, and raw. The woman can belt! She crushes every musical number, especially “Pawn It All.”
Ellington’s Davis is another incredible singer. Davis’s attempt to woo back Jersey is a sexy will-they/won’t they tango in “Fallin’.” The scene oozes with seduction.
White is magnificent as the regal queen of the Ellington Room. She is Ali’s Gandalf, Merlin, and Dumbledore rolled into one—the voice of wisdom in the young girl’s life.
While the sets are simple —a kitchen table, a sofa, and some scaffolding —the visual projection by Peter Nigrini elevates everything, giving the show a sleek, New York vibe.
Camille A. Brown’s choreography is off the chain. The movements are sharp and crisp, jagged poses and jutting arms, thrusting hips. The ensemble dancers, especially Christopher Miller, Mae-Lynn Flores, and Ethan Zundell, contort in magical ways.
Michael Grief’s direction is kinetic. While it takes “Hell’s Kitchen” a minute to get moving, he brings it all together with panache. While Kristoffer Diaz’s book has some notable flaws (including its length), the production was beyond amazing.
The show closes with “Empire State of Mind,” a love letter to New York City in pop perfection. Bolstered by Mayor-Elect Mamdani’s recent win, it was easy to be in a New York state of mind.
While you may only learn a little about Alicia Keys here, you will grow your appreciation of her songwriting expertise, and, if you’re already a fan, “Hell’s Kitchen” is a must-see event.
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“Hell’s Kitchen” plays until November 9 at the Benedum Center, 237 Seventh Street, Pittsburgh, PA 15222. For tickets and additional information, click here.
