Alicia Keys’ Hell’s Kitchen Spotlights Immaculate Performances
–by Ashley Cox
On Wednesday night, guests were greeted at the Fabulous Fox in St. Louis differently than normal; no less than five times, I was asked not to sing during the performance. Normally, this seems like a no-brainer but apparently Tuesday’s opening night was, um, especially musical. This can sometimes be an issue with jukebox musicals. Hell’s Kitchen was jointly written by and uses the songs of Grammy awarded winner, Alicia Keys.
While the plot is not especially groundbreaking, the staging and performers were immaculate. Maya Drake in her professional debut plays the lead, Ali. A headstrong biracial, 17-year-old growing up under the ever-looming eye of her white mother who is determined not to let her make the same mistakes she did. We all know from real life and fiction that this frequently backfires. Not only do Ali and her mother share generational friction but her mother’s frequent micro and macro aggressions against the neighborhood’s other residents increases tensions. Ali and her friends have their eyes set on a group of street performers including the handsome Knuck (played by Jon Avery Worrell). Worrell is not only intensely easy on the eyes but captured Knuck’s quiet persistence to not be seen as a ‘thug.’ His voice reminded me of Omarion or Boyz II Men, capturing the essence of late 90s/early 00s RnB singers.
Roz White as Miss Liza Jane commanded the stage every time she gracefully strode in. She was a catalyst and safe space for Ali. It was powerful to see someone with a long career and someone just beginning (Drake) play off each other in both dramatic and comedic scenes. White’s rendition of “Perfect Way to Die” captured to the struggle of Black Americans and the reality that Ali would have to face that her mother could not relate to. She needed the guidance of both of these women. Miss Liza Jane also eventually tempers her mother’s unhelpful and extreme concern.
In a musical focusing on the magic of music and performers, it would be remiss to not acknowledge the highlighting of the piano. While pianos were mimed on stage, the actual pianist was elevated on a scaffolding and frequently spotlighted. The dance ensemble was particularly strong, having to combine quick and sharp movements while staying in sync. I have also never seen a contemporary musical with so many quick changes. Actors were constantly changing costumes. My favorites were the FUBU tops, which were also available as merch. I have not seen FUBU in years and it was a welcome call back to TRL and 106 and Park.
Take advantage of being one of the first to see Alicia Keys’ Hell’s Kitchen during its first touring production. Saint Louis will be hosting a piece of New York City through February 8th. Be aware that it is not appropriate for all viewers as it contains strong language and implied sex. Bright, flashing lights may impact sensitive viewers.
The Phantom of the Opera arrives from the Paris catacombs on February 18th and is chased away by the loud crashes of the 30th anniversary tour of Stomp on March 6th.