While Stephen Sondheim and David Ives’s musical Here We Are aims at the lofty goal of questioning the nature of human existence, Hell’s Kitchen at the Public Theater has a lower target of telling a familiar story of teen self-discovery — but it hits a bull’s eye. Pop songwriter-singer Alicia Keys has taken several of her hits songs, written some new ones, and along with book-writer Krisoffer Diaz, has woven pieces of her own past growing up in the titular Manhattan neighborhood into an entertaining, colorful, but not-too-unusual tapestry. It’s a telling indicator of the state of commercial New York theater that Hell’s Kitchen has already announced its transfer to Broadway and the more challenging Here We Are will not move from its limited run at the Shed.
Hell’s Kitchen focuses on bubbly teen Ali dealing with an overbearing, but loving single mom, finding an older boyfriend, and discovering her musical talent thanks to a mentor figure who just happens to live in the same building. Well, Ali does live in Manhattan Plaza, a haven of stabilized housing for artists, actors, and musicians. After conflicts with mom, a spat with the boyfriend, and a heartbreaking loss—surprise—Ali emerges as a strong, confident young woman. Diaz’s book holds few unfamiliar tropes, but it efficiently delivers such Keys hits as “Girl on Fire,” “Fallin’,” and that anthem for tour buses and pedicabs, “Empire State of Mind.” None of these fiery tunes seem arbitrarily sandwiched in, as is the case with many jukebox shows.
Michael Greif’s staging is constantly innovative, taking us all around Gotham, realized by Robert Brill’s evocative set and Natasha Katz’s city-centric lighting. (One of the most effective sequences shows Ali descending in her building’s elevator, passing various residents practicing their music, all beautifully conveyed with Katz’s lighting, Gareth Owen’s sound and Peter Nigrini’s projections.) Camille A. Brown’s quirky, eccentric choreography brings the urban landscape to vibrant life.
Coming out of nowhere, young Maleah Joi Moon miraculously carries much of the show’s weight on her slender shoulders. Seldom leaving the stage, she conveys Ali’s drive, passion, and insecurities as well as soulfully crooning Keys’ ballads of yearning, despair, and joy. She dances with professional edge, too. This is a star in the making. Shoshanna Bean makes for a formidable Jersey, Ali’s strong-willed mom, particularly with her rock vocals. Brandon Victor Dixon infuses Ali’s absentee dad with the necessary charm and also displays impressive pipes. Kecia Lewis is a force of nature as the imperial pianist Miss Liza Jane who takes Ali under her wing. Chris Lee shows depth as Knuck, Ali’s amour who wants to be thought of as more than a thug.
Hell’s Kitchen is not as daring as Here We Are, but it’s rousing, entertaining, and, though her story is kinda corny, you’ll find yourself cheering for Ali finding her place in the New York of her dreams.
