First things first: I am not a theater critic let alone a regular theater-goer. My sparse CV of musicals and plays includes, decades ago, a fun “theater in the round” spin on Neil Simon’s Seems Like Old Times that starred Barbara Eden and Wayne Rogers; a faithful rendition of Simon’s classic The Odd Couple with Jack Klugman and Tony Randall; a sparse production of Shakespeare’s The Tempest that was, in a word, horrible; Eli’s Comin’, a fun off-Broadway musical inspired by the songs of Laura Nyro; and the touring production of Jersey Boys when it played Philly. (My main memory of that night, however, is getting stuck with other theater-goers post-play in the parking garage elevator. No one panicked, thankfully, and after about 20 minutes we were freed.) Since moving south, we’ve taken in To Kill a Mockingbird, which starred a sterling Richard Thomas as Atticus Finch and an engaging Melanie Moore as Scout; the “hellacious” musical Hadestown, which captivated us; a two-person local production of King James; and, last night, Alicia Keys’ Hell’s Kitchen.
Second things second: Diane and I are both Alicia Keys fans, and have been since her debut, though to our ever-lasting shame we’ve yet to see her in concert. To my ears and taste, she’s never released a bad album. Her 2009 outing, The Element of Freedom, is one of my favorites of the new millennium.
Hell’s Kitchen is the story of a 17-year-old girl named Ali, loosely based on Keys, as she navigates the rocky terrain of young adulthood in New York City. That includes dealing with an overprotective mom, falling for a slightly older guy, dealing with an unreliable dad, and discovering the piano. There are moments of levity and deep drama, but the story takes a back seat to the production numbers, which are—in a word—phenomenal. While Keys wrote several original numbers for the show, most songs are drawn from her catalog, including “You Don’t Know My Name,” “Teenage Love Affair,” “Un-Thinkable (I’m Ready),” “Girl on Fire,” “Fallin’,” “No One,” and “Empire State of Mind.” I found myself (silently) singing along to them and, when appropriate, dancing in my seat.
Recent high-school graduate Maya Drake, in her first professional role, is simply terrific as Ali, ably capturing the character’s wide-eyed naivety and, too, stubbornness. Kennedy Caughell, who plays the mother, reminded Diane of Lisa Anne Walter (Melissa on Abbott Elementary), albeit with a much better singing voice, while she brought to my mind Frances McDormand in Almost Famous—either/or, she’s excellent. She brought down the house more than once. The other cast members are as wonderful: Roz White as Miss Liza Jane; Desmond Sean Ellington as the ne’er-do-well dad; and Jonavery Worrell as Knuck, the young man who catches Ali’s eye. The many supporting players and dancers are remarkable, as well.
From the get-go, however, the stars are the songs—especially the closing “Empire State of Mind.” I have no regrets about splurging for our pricey second-row seats; it was quite cool seeing everyone up-close. If you enjoy Alicia’s music, or just lively musicals, Hell’s Kitchen is well worth seeing.
(The cast album, which I’ve been listening to quite a bit these past few weeks, is a a delight, too. It can be streamed from all the usual suspects.)
The Old Grey Cat 