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Regional Reviews: Phoenix Hell's Kitchen Also see Gil's reviews of The Miraculous Journey of Edward Tulane: The Musical, Tarzan, Ragtime and Broadway Night
Set in Manhattan's Hell's Kitchen district, the story follows a 17-year-old woman named Ali, who navigates adolescence, ambition, and her complicated relationship with her mother. As Ali seeks independence and a sense of identity, an older woman in her building who teaches her how to play piano, a young man she meets outside her apartment, and her close friends help shape her path while she struggles to manage the sometimes difficult relationship with her overbearing mother and her mostly absent father. Kristoffer Diaz's book doesn't always dig as deeply as it might into its characters or their conflicts. Many of the elements and themes in the plot are familiar and some even border on being cliché, leaving certain moments and characters predictable or underdeveloped. The book does provide a good sense of time and place, with references to unnecessary police brutality of African Americans, Mayor Guiliani's plans to revitalize the city, and the heat, passion, and electricity that anyone who's lived or worked in Manhattan and close to Hell's Kitchen can understand and appreciate. I'll admit that beyond "Girl on Fire" and "Empire State of Mind," I was not that familiar with Alicia Keys' pop hits, but many of her other popular songs are included here, with some adjustments to the lyrics to make them fit the characters and story. The score delivers a rich, beautiful soundscape that makes the plot pop with soaring, soulful melodies and a driving passion to elevate the material with a contemporary edge. The national cast is fantastic, with performances that are both sincere and charismatic and also incredibly grounded. As Ali, Maya Drake evokes both a fiercely independent teen as well as someone searching for their identity. Davis brings a lovely sense of vulnerability, drive, and a passionate fire to the role. Kennedy Caughell is equally as good as her mother Jersey, the overly protective, guarded, and strong-willed woman who doesn't want to see her daughter repeat the same mistakes she made in her youth. Caughell grounds the role in an authentic performance. Both Drake and Caughell have incredible voices with notes that soar with sustained power and clarity. As Miss Liza Jane, the warm, wise, and musically inspiring older woman who lives in their building, Roz White is a powerhouse. Miss Liza Jane serves as Ali's mentor who helps guide her toward self-expression and discovery of her musical gifts, and White embodies the role with grace, elegance, and soul. Her expressive vocals on her two solos are highlights. Desmond Sean Ellington does a wonderful job in the mostly thankless role of Davis, Ali's often absent father. Ellington brings charm and sincerity to the role that helps us see he's not as thoughtless as it might initially seem. As Knuck, the charismatic and magnetic young man Ali falls instantly for, JonAvery Worrell shows the character as more complicated than he at first seems. The ensemble members play the various friends and neighbors of Ali and her mother, bringing passion and creating unique individuals. Michael Greif's direction ensures the warmth, humor, and depth of Ali's journey are clear and the vulnerability and determination of all of the main characters is understood. Grief's staging makes great use of Robert Brill's expansive set, with Peter Nigrini's projections and the movement providing a cinematic feel with sweeping backdrops and shifting set elements. Camille A. Brown's visually striking and continually engaging choreography plays a key role in maintaining the show's energy, with movement that feels fluid, expressive, and closely tied to the characters and the music. Dede Ayite's costumes are colorful and character appropriate and the lighting by Natasha Katz is very impressive. The sound design by Gareth Owen is a bit murky at times, although every single line of dialogue and lyric sung by Roz White as Miss Liza Jane is crystal clear, so perhaps it's just an issue of a lack of enunciation and projection on the other cast members. Hell's Kitchen may have a fairly basic story that occasionally lacks depth, but its musical score adds a richness to the plot, and the strong performances and dynamic choreography make it both entertaining and worthwhile. Hell's Kitchen runs through May 3, 2026, at ASU Gammage, 1200 S. Forest Avenue, Tempe. For tickets and information, please visit http://www.asugammage.com or call 480-965-3434. For information on the tour, visit https://hellskitchen.com/tour/. Music & lyrics: Alicia Keys Cast: |
