Hell’s Kitchen Brings the Heat but Lacks the Meat

 Hell’s Kitchen Brings the Heat but Lacks the Meat 

By David Pulvermacher

(Picture from hellskitchen.com, Photographer Unknown)

Hell’s Kitchen has everything it needs to be a remarkable jukebox musical. Having access to Alicia Keys' most famous songs and its cast of powerhouse singers creates a musically entertaining performance. However, the show falls flat in its story and directorial execution. Written by Kristoffer Diaz and directed by Michael Greif, Hell’s Kitchen is a semi-autobiographical story of Alicia Keys' life as she grows up in Manhattan, New York. While trying to convey the complexity of Keys' upbringing, the use of multiple story plots and conflicts struggled to culminate cohesively. Nonetheless, Hell’s Kitchen is a fun show for fans of Alicia Keys and those looking for enjoyable music. 

The audience is thrown into Ali’s busy world through a dance number at her apartment complex. The audience is quickly introduced to the cast during the prologue. Ali is confronted with the challenges many teens endure, such as butting heads with her single mother and having a crush on an older man in the neighborhood. Ali craves to explore her social identity but is impeded by her mother, who is trying to prevent her from making poor choices like she did at her age. Along her journey, she meets a fellow tenant of her building who takes Ali under her wing and mentors her in playing the piano. Ali’s yearning for independence leads her to sneak behind her mother's back, which leads Ali and her loved ones into a strenuous and precarious situation. As tension builds, the question isn’t what Ali is willing to risk for her desire, but rather what her risk-taking will cost her. 

Hell’s Kitchen’s strength is its cast. The skill and precision of the understudies who performed the lead roles were so powerful and heartfelt that one could mistake their work for being that of the main leads. This is seen in Gianna Harris' playful and mischievous portrayal of Ali. Harris convincingly portrays a teen's range of emotions, like confrontational rage towards her mother and the innocence of a first love. Harris' vocal range is powerful and emotional; from “The River”  to “Empire State of Mind,” Harris puts on a concert-worthy performance that captivates the audience. 

(Picture by Chelcie Parry at variety.com)

There were no weak performances in Wednesday’s matinee. Kelsee Kimmel's commanding and caring presence makes Jersey authentic and relatable. Her acting and singing are in full force in “Pawn it All,” where Jersey is enraged by her ex-husband's lack of action when Ali needs him most. Kimmel’s show-stopping performance compels one to believe she truly is Ali’s mother through her conveying of Jersey’s effort in guarding her child. 

 Along with Kimmel, Phillip Johnson Richardson enchants the crowd with his portrayal of Ali’s boyfriend, Knuck. Unlike Harris and Kimmell, Richardson is the cast actor for his role. As Knuck, Richardson compliments Harris' powerful singing with his calming demeanor. As seen in their duet, “Like You’ll Never See Me Again,” Richardson delivers a sensitive performance that compliments Harris. This was also seen in his rendition of “Gramercy Park,” where his tone was exceptionally warm and sensitive.

The struggle with the show is its lack of direction. While Diaz showcases the growing complications of Ali’s decisions, the varying subplots do not complement one another. In the first act, Ali is having conflicts with her mother about staying in the apartment while also flirting and starting a sexual relationship with an older man. Along the way, she meets a neighbor who teaches her how to play the piano. In the second act, Jersey reaches out to her ex-husband to try to talk to Ali, but he comes and goes when convenient to the plot. Not to mention, the side characters introduced early on in the show are relinquished to background dancers. Ali’s friends are set up early as an important tether to her character but are left on the wayside as she starts talking to Knuck. The tension is lost when attempting to connect all the subplots. The multiple plots did not culminate in a deeper meaning for the audience or the characters. The story felt forced to justify using Alicia Keys' most beloved songs. 

(Picture by Joan Marcus at playbill.com)

The directorial decisions also hindered the show's emotional depth. While the majority of the show utilized exposition and music to articulate the story, Ali used asides several times that break the flow of the story. When she begins the show by talking to the audience, it sets one type of expectation. However, Ali and her friend use asides, unnecessarily breaking the story's flow.

 

While the story was lackluster, the scenic design and wardrobe were stunning. Robert Brill’s creative use of structure and lighting showcases each setting, while Dede Ayite’s beautiful costumes showcase each character's unique qualities. While most of the musical is set in Ali’s apartment complex, each space feels unique. From Ali’s apartment to the Ellington Music Hall, the audience can clearly follow where the characters are in the story. The scenery created excellent tension, as seen each time the police spoke to Ali. 

Hell’s Kitchen is an experience that fans of Alicia Keys will likely enjoy. With its cast’s beautiful interpretations of Keys' hit songs, along with nice scenes and costume designs, Hell’s Kitchen is a show that will speak to some musical goers. Tickets are on sale starting at $43.62, with a runtime of two hours and thirty-five minutes with one intermission. Tickets can be purchased at https://hellskitchen.com/ and at Shubert Theater at 225 W. 44th St, New York, NY 10036