REVIEW: Hell’s Kitchen on Broadway

Review by:

A. Murr

3.5/5

It has become something of a joke when a new jukebox musical comes out. People sometimes scoff at the thought that music that has already been written can create something that all audiences can enjoy. I would argue that shows try to emulate the success of Mamma Mia! in 2001, shortly after the tragedy that was 9/11. There have been successes (Rock of Ages, Beautiful: The Carole King Musical) and misses (Escape to Margaritaville, We Will Rock You), but enough where you walk in basically knowing what you’re going to expect. I am ecstatic to report that Hell’s Kitchen, with the support of spectacular vocals and searing choreography, falls into the success pile. When it pushes past the shallow plot and allows itself to explore its own creative roots, it is a winning show that earns its emotions in some unexpected ways.

The plot is not something to write home about. Ali (in this performance played with such sharp, believable innocence by Gianna Harris) is a young girl growing up in, surprise, Hell’s Kitchen with her single mother Jersey (Shoshana Bean, a predictable powerhouse). We meet a really sweet cast of supporting characters, where Ali falls in love not only with a man, but also the city around her. The first surprise comes in when the cast starts singing “Kaleidoscope”. The blending of choreography (Camille A. Brown, who also choreographed one of my favorite plays Choir Boy) with the singing and other production elements soar. We start to feel that care-free, soaring feeling of living in New York City. Energy, chaos, but oh so beautiful. It’s cliché, but there’s a reason it’s cliché, and Michael Greif (Director) gets to the heart of that feeling.

Then Kecia Lewis enters. This is a role that could have easily entered melodramatic early on, but it cannot be overstated how she both steals every scene she is in while also allowing everything else to come along for the steal. Miss Liza Jane elevates everyone else, including the audience. When she sings “Authors of Forever” in Act II, the gravitas is so palpable it is hard not to be moved. Not an easy feat for a jukebox musical. Shoshana Bean as Jersey does this too. When she belts “Pawn It All”, yes she sounds wonderful, but she is also just so believable. Great acting, plain and simple.

Special shout-out to Desmond Sean Ellington as Davis in this performance. When he croons, we listen. When he’s good, we cheer. When he’s not, heavy sighs could be heard throughout the audience. Another character that is pretty flatly-written, but brought to life by absolutely phenomenal acting.

Back to the book. Yes, it is shallow, but I also think it’s supposed to be that way. It is okay for a show to just be that: a show. Act II drags a little with one or two extra beats. When you have creativity flowing out like it does at the Shubert Theatre every night, imperfection is okay. I wouldn’t want perfection to be in the way of some really great elements at play.

When “Empire State of Mind” starts thumping, normally there is a bit of an eye roll. Of course the most recognizable song will be the end. In Hell’s Kitchen, the emotion is so well-earned, you can’t help but smile and take in this little world that is New York City.