Smart idea! Rather than creating a tedious old bio-musical, recording sensation Alicia Keys has opened her mighty catalogue to an origin story, with new musical Hell’s Kitchen focusing simply upon a single tumultuous summer in the life of a young woman on the cusp of artistry.

With Keys heavily involved in creation and production of Hell’s Kitchen, and penning four additional songs, the resulting musical is as authentic and heartfelt as it is highly entertaining. 

While the scenario of a blossoming teenage girl railing against her mother is far from original, the exhilarating music and razor sharp choreography serve to significantly elevate proceedings. Seventeen-year-old Ali lives with her mother in Manhattan Plaza, a subsidised building for artists. There is a general In The Heights vibe to the warm community of characters and the snap and fizz of the choreography. 

Kristoffer Diaz’s book saves character development for a tight subset of key roles, the remaining friends and neighbours being more broadly drawn. While a significant amount of the storytelling is without much tension, veteran Broadway director Michael Greif shapes the overall arc to land a moving emotional development late in act two and bring the musical to a satisfying and uplifting conclusion. 

Keys’ legion fans will revel in the opportunity to hear her songs in this context and with the music played and sung so strongly. Six musicians perform on stage, suspended overhead on mobile balcony-like sets, designed by Robert Brill. 

Camille A. Brown’s choreography is a clear highlight of Hell’s Kitchen, both in regard to the creativity of the unique dance vocabulary and to the sheer strength with which it is performed. The combination of Keys’ music and Brown’s choreography is genuinely exciting and will be a clear attraction to the show’s life beyond this world premiere off-Broadway season. 

Animated projections by Peter Nigrini threaten to turn some songs into music video clips and yet yet the vibrancy of the protections is a neat match for the performance energy on stage. Outfitting the cast in funky street wear, costume designer Dede Ayite tends towards authenticity rather than theatricality, grounding the characters firmly in realism. 

Clearly produced with great confidence, the sharp combination of all aspects of design places the show at a stellar standard at this early stage in its life. (If there is one weak spot in the design it is a flashback to the mother’s youth that sees everyone suddenly dressed like the company of Hair). 

On par with, say, Eva Peron, the role of Ali is an extraordinary showcase, one that newcomer Maleah Joi Moon embraces for all she is worth. This is a star-making performance, not least for the strong bond Moon is required to make by frequently breaking the fourth wall and sharing her story directly wth the audience. Moon manages to keep Ali entirely likeable, even when the rebellious teen is clearly behaving badly, and her vocal performance is an attraction all of its own.

With such a large teen role at the centre, the creators have smartly stacked the deck of adults with stellar experienced talents. 

Shoshana Bean brings the perfect blend of strength and warmth to Ali’s harried mother Jersey. 

Brandon Victor Dixon is in super smooth form as Ali’s father Davis, called back to the scene by Jersey in her desperation to get through to Ali. Bean and Dixon sing a romantically flirtatious duet that has the audience all steamed up.

Ali’s piano mentor Miss Liza Jane is played with abundant grace and heart by Kecia Lewis. 

As clear a candidate for a Broadway transfer as is likely to be seen downtown, Hell’s Kitchen surely has a long and successful life ahead. 

Hell’s Kitchen plays at Public Theater, New York until 7 January 2024. For tickets, click here.

The Hell’s Kitchen playbill can be read online. 

Rehearsal photos: Joan Marcus