HELL’S KITCHEN – Music and Lyrics by Alicia Keys; Book by Kristoffer Diaz; Produced by the Denver Center for the Performing Arts Broadway (Presented at the Buell Theatre, 15th and Curtis, Denver) through April 26. Tickets available at 303-893-4100 or DenverCenter.org.
In the program for this production, the centerfold shows posters of the upcoming 2026-27 season featuring both JERSEY BOYS and MAMMA MIA. Which is ironic, because I would place this new jukebox musical about the early life of Alicia Keys square in the middle of those two long-lived productions of a similar genre. With JERSEY BOYS being one of the best, most tuneful musicals of its era. In decades to come, perhaps we will look back on this piece as reminiscent of the 90’s as much as the JERSEY BOYS who became symbols of the 60’s and 70’s.
Ms. Keys is telling her own story her own way with her own music. I’m sure her mother’s musical would have a different point of view. But we watch the young Ali as a teenager loving hip hop, discovering love, fighting with her mother (who could have predicted?), learning about her father, and beginning to become an adult. On the story alone, it’s worth a look and a listen. But throw in the music and the amazing street dancing, and you’ve got a whole evening of fun.
The voices of this group of people are spectacular, with Kennedy Cauchell leading the pack. As Ali’s mother, Jersey, she never loses an opportunity to exercise her acting chops and vocal abilities. Close on her heels is Miz Liza Jane, Ali’s grandmother-like guardian angel. An elder in the close-knit community, she teaches Ali the power of music, how it can heal, how you can trust it to always be there. Roz White, a comparatively young woman (if you can believe her picture in the program) becomes the elder, becomes the beloved teacher, and won Ali and the audience over with her emotional portrayal.
The men in the cast held up their end of the bizness as well. Desmond Sean Ellington, as Ali’s absent father, at the request of Jersey, came back when her teenage daughter began to get troublesome. Mr. Ellington was well-suited for his role as a saloon on-the-road singer with his smooth moves and cabaret voice. “Knuck” had to be somebody’s real name in Alicia’s early life; it’s too cute to have been invented for the show. But the character Knuck is real enough and becomes Ali’s introduction to love and lust. His songs express his affection for her and his dismay at finding out how young she was. You feel his pain.
Special kudos go to Maya Drake, who plays Ali. Fresh out of high school, she has the shortest bio in the program and the definite look of a young Alicia Keys. Maya tackles this singing, dancing, being a brat, experiencing love for the first time, scared, angry, growing up, young performer with gusto and charm. Even when she’s being a brat, you kinda love her. I predict that this touring experience will season her and give her strength on stage. She has a long career in front of her.
There is a dance ensemble in this production that reflects the freedom and exuberance of street dancing better than any I’ve seen. They move together and then break out in what seems like original, spontaneous moves – then come back together with perfect synchronicity. A major joy with this production is wrapped up in those bodies expressing their passion with energy and imagination. Each one seems to get a moment or two to shine, to sing a few bars as a solo, make a few moves in the spotlight – you can tell they love it.
A complicated set keeps them grounded in that little corner of New York, shifting to the various rooms in the Manhattan Towers, their home base. I couldn’t help but think, It will be a hard set to adapt for eventual regional theatre productions. But you know, they will find a way.
A WOW factor of 8.5!!