Broadway review by Adam Feldman
hell's kitchen, whose score is drawn from Alicia Keys' pop catalogue, could have easily been under fire. Jukebox musicals often do this. Songs that sound great on the radio don't always translate as well on stage. But playwright Christopher Diaz, director Michael Greif, and choreographer Camille A. We created a huge block party. .
Loosely inspired by Keyes' life, hell's kitchen As a short story, it falls within a narrow range of sense. Newcomer Marea Joy Moon, in her surprisingly assured debut, is a beautiful but directionless girl who grew up in midtown's artist-friendly Manhattan Plaza of the 1990s, where Dede Ayte's costumes were hilarious and witty. She plays Ali, a mixed-race teenager with no background. The problems Ali faces are real. her tensions with her protective single mother, Jersey (Shoshana Bean); disappointment in her father, Davis (Brandon Victor Dixon), a charming musician who yo-yos in and out of her life; Her unrequited love for the chic, slightly older street drummer Nak (Chris Lee). It was her desire to impress Miss Liza Jane (Keyshia Lewis), the stately pianist who lives in the building.
Hell's Kitchen | Photo: Courtesy of Mark J. Franklin
The show's array of Keys songs is its most obvious selling point, but it may also have been its limitation. Musically, the songs aren't made for drama and tend to fall into laid-back R&B grooves, and the lyrics, while effective, aren't particularly original or exacting. (Describes New York City as a “concrete jungle where dreams are born”) [sic]” is written in such a careless way that it makes people stand up. [sic]). What they provide is atmosphere, and Greif's production rides that smartly. This allows distinct beats to take charge of each part while letting the song set the overall tone. The characters have relationships not only through the songs, but also around them. And Diaz develops Keys' work in a way that complements his coming-of-age story. hell's kitchen's first half is built around relatively unfamiliar material, including some new songs written for the show. “Girl on Fire” is a number led by Ali's friends Tiny (a feisty Vanessa Ferguson) and Jessica (Jackie Leung), Beth and George, and girlfriend Nancy Drew towards the end of the first act. It burns up. But otherwise, Keys' biggest hits like “Fallin',” “If I Ain't Got You,” and “No One” strengthen Ali's confidence and her growing sense of maturity. As if, it will be saved after the break.
You don't need much convincing on this point. Sorry astronomers, but the moon is a star. Beneath Ali's failed efforts to look cool are a smattering of strong emotions that make her realize she's at an age where everything seems important. There's a real coolness to being a young performer who takes pride in making something of himself. Moon's effortless, unique, breathing voice fits perfectly between the voices of the two mothers in the play. Beneath her is Lewis's cavernous contralto. When Miss Liza Jane closes the first act with the shocking “Perfect Way to Die,” a song about police brutality, it's as if the earth itself is rising in pain. And above her is Bean's muscular combination of high belts, which she flexes in the blistering musical sequence “Pawn It All,” which stops the show chilling with its stunningly precise playing. Dixon's vocals, on the other hand, help explain why people continue to be drawn to Davis.at least he is sound Like an angel. (Garth Owen's sound design gives all of these fine singers the support they deserve.)
Hell's Kitchen | Photo: Courtesy of Mark J. Franklin
As the title says, hell's kitchen Extend your attention beyond the central story to the neighborhood. Robert Briles' scenic design and Peter Nigrini's projected fire escapes and signage, further enhanced by Natasha Katz's dazzling lighting, help set the urban scene. But the most important element is Brown's masterful choreography. Brilliantly executed by an ensemble that includes several dancers who have worked together in the past, Shaw's bold and graceful movements capture the world of kinetic energy available to Ali when he is finally able to act. evoke. She organizes her talent.when hell's kitchen Inevitably, it ends with “Empire State of Mind,” but with such a strong New York feel throughout the show, this song didn’t feel like an afterthought. Although it may touch on important social issues, hell's kitchen This is ultimately a celebration of the city and the people who make it pop.
hell's kitchen. Schubert Theater (broadway). Lyrics and music by Alicia Keys. Christopher Diaz's book. Directed by Michael Greif. Starring Marea Joy Moon, Shoshanna Bean, Keshia Lewis, Brandon Victor Dixon, Chris Lee, Vanessa Ferguson, and Jackie Leung. Running time: 2 hours and 30 minutes. 1 break.
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Hell's Kitchen | Photo: Courtesy of Mark J. Franklin
