Jukebox musicals tend to fall into two categories: a fabricated story manufactured to cram in as many hit songs as possible, or a biographical sketch of a major artist told using their songs. The 2023 Broadway musical from Alicia Keys falls somewhere in between. “Hell’s Kitchen, ” which runs through November 8 at West Herr Performing Arts Center, brings a ‘90s New York City R&B family love story to the Rochester Broadway Theatre League season.
The musical, penned by Alicia Keys and playwright Kristoffer Diaz, features Keys’ biggest hits as well as a few new songs for the show. “Hell’s Kitchen” uses elements of Keys’ adolescent biography — white mom, absent father, being raised in the city, a love of music. However, the events and characters follow a simple coming of age story that’s less about providing insight into Keys or her career and more a vehicle for iconic songs, high-energy dance numbers and a breathtaking visual landscape.
Set in the Manhattan neighborhood Hell’s Kitchen, the scenic design by Robert Brill features stacked apartment balconies and a shifting backdrop collage of photographs, street footage and graffiti. Projected graphics designed by Peter Nigrini and colorful lighting by Natasha Katz give the impression of stained glass windows (or, more appropriate to an Act I song, a kaleidoscope). Dede Ayite’s costume design is a trove of 90s nostalgia: baggy pants, denim, crop tops and designer labels ranging from FUBU to Tommy Hilfiger.
Given Broadway’s location, it’s unsurprising many musicals are set in, well, New York. “Hell’s Kitchen” borrows aesthetics from other iconic NYC musicals — the colorful exuberance of “In the Heights,” the raw sharp angst of “Rent” (also directed by “Hell’s Kitchen” director Michael Greif) and a fire escape love scene reminiscent of “West Side Story.” But knowledge of NYC is not needed to follow the show’s general plot, which hinges on the rocky relationship between a teenager and her single parent. (The opening line: “Because I’m your mother!”)
Ali (played by Sydney Townsend with an instantly likable blend of confidence and vulnerability) addresses the audience with the honesty of a teen diary entry. She’s eager to embrace her neighborhood’s hip-hop culture. Her white mother, played by vocal powerhouse Emily Kristen Morris, is a devout follower of Rudy Giuliani and fears violence and pregnancy await her daughter outside the walls of the apartment. She’ll do anything to shelter her daughter, even call the cops on teenagers of color.
Ali quickly falls for the sure-to-horrify-her-mother streetwise drummer Knuck (a suave and strong JonAvery Worrell). He’s a professional house painter who uses empty white buckets as percussion (leading to the delightful program credit of Jared “Choclatt” Crawford for “Bucket Drumming Consultant”). She’s awkward but persistent; he caves.
More refreshing than the expected “boy-meets-girl” beats is Ali’s “girl-meets-music” love story. When overwhelmed by hormones and angst, Ali finds respite in the Ellington Room where Miss Liza Jane (Roz White, bringing stature and gravitas to a stock mentor role) plays piano. Both Ali and the audience get an instruction on under-recognized black female pianists, including Florence Price and Hazel Scott, who predate Alicia Keys.
Apart from a few sound balance issues in the first act where the band drowned out some lyrics, the vocals in this tour production are worthy of Keys’ legacy. Each singer has more controlled and impressive riffs than the last. It’s a treat to hear new arrangements of her iconic songs, from duets of “No One” and “If I Ain’t Got You” to (a highlight of the evening) “Fallin’” performed in honey-sweet falsetto by Jeremy Cousar as Ali’s dad.
The numbers are further heightened when infused with Camille A. Brown’s expressive hip-hop and contemporary choreography. Even when Ali is in a room by herself, the dance chorus takes over to convey her emotions.
“Hell’s Kitchen” lands as a night of strong musical and dance performances, but what sets it apart from other musicals, jukebox or not, is hidden in plain sight: the interracial family at the core. The flashing lights and city glitz may dazzle, but the most unique moment of the show is seeing a black daughter and her white mother sing across the divide of their life experiences.
“Hell’s Kitchen” runs through November 8; more info and tickets here.
Katherine Varga is a Rochester-based writer and arts educator. On an ideal day, you’ll find her biking to a library or theater.
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