The touring production of Hell’s Kitchen (playing now through June 21st) opened at the Pantages Theatre Wednesday night and brought the house down. The Pantages’ catchphrase of bringing Broadway magic to Hollywood lived up to the hype and then some.
The story is a fairly straightforward one, a fictionalized version of Alicia Keys’ own coming-of-age as the 17-year-old biracial daughter of a hardworking single mother finding her way in the vibrant inner city of New York’s public housing. Keys herself lived in the federally subsidized Manhattan Plaza which nurtured inner city kids with a heavy emphasis on the performing arts. Headstrong Ali (the character based on Keys) chafes at her mother’s overprotective, restrictive parenting style and sets her sights on a slightly older guy who’s just trying to earn an honest living and stay out of trouble amidst the fraught racial tensions which pose a challenge for all young men of color. Amidst her romantic pursuits, Ali becomes inspired by an older Black woman with a commanding presence who plays the piano in the mostly deserted multipurpose room of their high-rise building and discovers the power of music to heal and transcend one’s circumstances.
With a book by Kristoffer Diaz, music and lyrics by Alicia Keys, off-the-chain hip-hop influenced choreography by Camille A. Brown and helmed by prodigious Tony Award nominated director Michael Greif, this creative team built a solid foundation with the requisite heart, conflict, drama and emotional heft to draw in the audience and deliver a rousing night of live theatre that is thrilling and captivating. But it was the extraordinary talent of this cast that put this show over the top with jaw-dropping vocals, riveting choreography and a thoroughly believable commitment to the story being told. All the production elements from the sets and the lighting to the sound were all on-point, serving up a spectacular night of live theatre the way that makes you forget all your cares for a scintillating 90 minutes.
It’s hard to come up with sufficient superlatives to describe the talent of this Broadway caliber cast. At the center is Maya Drake, a recent high school graduate who plays Ali (the character based on Keys’ younger self) and turns in a star-making professional debut with pitch perfect vocals which run the gamut from hip-hop to R&B and the dramatic chops to convey the brash innocence of youth from first love to the inevitable clashes with her mother and her evolution as a young woman navigating her way in the world and finding her gift. Maya is the anchor for this show and true to Alicia Keys’ signature song “This Girl is on Fire.”
The other standout in a cast of standouts is Kennedy Caughell who plays Ali’s mother “Jersey.” Jersey has a sterling list of credits under her belt and when it comes to belting, Caughell’s vocals are off the charts. Not only are her vocals impressive, but she fully commits to the role of a protective mother who makes the regrettable mistake of trying to protect her daughter from making the mistakes she made as a young girl. Caughell goes all-out delivering a fully committed, nuanced performance that allows the mother-daughter relationship to traverse the journey of anger, frustration, hurt and ultimately reconciliation. Caughell’s vocal prowess is showcased throughout but reaches its peak in the song “Pawn it All” which stopped the show with a mid-show standing ovation.
The third female anchor of this show is embodied by Roz White who plays Miss Liza Jane, the wise if accidental mentor to Ali. Ali stumbles into the multipurpose room of her multi-story building to find this older woman playing the piano. The character is as masterfully written as it is performed with a stern demeanor who clearly suffers no fools, but schools the young Ali in ways that will no doubt last a lifetime. Roz White imbues the role with exactly the right mix of gravitas and heart while serving as the spiritual and moral center of this musical.
As for the male energy in this show, we’ve got two outstanding performers in Desmond Sean Ellington as Ali’s mostly absent father Davis and Jonavery Worrell as Ali’s love interest Knuck. Both men bring just the right conviction to their roles to make them thoroughly believable and both shine in their duets with the women in their lives. The writer elicits compelling dynamics making the relationships credible and dimensional, whether it’s romantic, parental or generational. As the show draws to its emotional climax, all these elements are woven together, creating a satisfying and emotional catharsis that feels genuinely earned.
When a show is this good, you want to shout it from the rooftops and make sure people know about it. It’s the kind of show that exhilarates and uplifts and reminds us of the power of the arts and community and our connections to each other.
Hell’s Kitchen — The Musical. Running until June 21. Hollywood Pantages Theatre. 6233 Hollywood Blvd., Los Angeles, CA 90028. 323-468-1700. Tickets.