ALICIA KEY’S HELL’S KITCHEN Musical at Fox Theater Review

Maya Drake as Ali and the company of the North American Tour of Alicia Keys' Hell's Kitchen. Photo by Marc J Franklin. Courtesy of the Fabulous Fox

– By Cate Marquis –

Alicia Keys’ “Hell’s Kitchen,” the Tony and Grammy-winning musical by Grammy Award-winner Alicia Keys, made it’s Fabulous Fox Theater debut on January 27. The semi-autobiographical, coming-of-age story is based on singer/songwriter Keys’ youth in New York, and features several of her hits. including “Girl on Fire,” plus new songs written for the musical. The North American tour of the Broadway show is directed by five-time Tony Award nominee Michael Greif, with choreography by five-time Tony Award nominee Camille A. Brown, book by Pulitzer Prize finalist Kristoffer Diaz, in addition to all that great music by Alicia Keys.

The musical has has two acts with an intermission, and a story is set in 1990s Manhattan, where 17-year-old Ali (Maya Drake), full of fire and eager to find her place in the world, lives with her mother in a New York high-rise apartment complex reserved for artists. Ali’s mother Jersey (Kennedy Caughell) is a singer and businesswoman who is raising her daughter alone and perhaps is a bit overprotective of her- or at least she is in Ali’s 17-year-old eyes.

Although the building full of artists and is a safe space, Ali’s mom Jersey is less comfortable with the neighborhood outside, which is in New York’s rough Hell’s Kitchen, even with watchful doorman Ray (Chikezie “Chike” Nwankwo) there to keep an eye on Ali. Ali, on the other hand, sees the street right outsider the building’s door as full of life and fun, with her friends Tiny (Gigi Lewis) and Jessica (Marley Soleil), and street musicians drumming on tubs, and all the excitement that is New York City.

As Ali takes the elevator down from her upper level apartment, she introduces the audience to her neighbors, who include singers, musicians, dancers, even an opera singer. We don’t see them, only hear them, as the elevator pauses at various floors. This very clever elevator effect is created by a tall movable screen on which projections create the illusion of an elevator, enhanced by sound effects, and hear the sounds of the unseen artist neighbors. In fact, the whole stage is dominated by these impressive skyscraper-like movable screens, in black and silver, which serve well as various locations in the story, along with the addition of a few props and some signage. The marvelously flexible set puts us very effectively in a New York state of mind from the start.

Outside her building, Ali greets her friends Tiny and Jessica, while her concerned mother cautions her to be careful. Her mother’s friend Millie (Beda Spindola), who also lives in the building, warns her friend about the risks in being too overprotective, prompting Jersey to push back, with a song, “Seventeen,” reminding her friend Millie that Ali is still very young and naive.

Other characters in this coming-of-age story include a crush on one of the drummers, Knuck (JonAvery Worrell) outside the apartment building, and Miss Liza Jane (Roz White), a charismatic pianist that Ali hears when she takes shelter from the rain in the music practice space in the lower level of her building, called Ellington Room.

The story focuses on finding one’s passion and purpose, and the lively singing and dancing are well-integrated into the involving, entertaining show. The musical opens with a couple of songs, sung by Maya Drake’s Ali and the cast, “The Gospel” and “The River.” Choreography supplements the singing, and Maya Drake joining the dancers too at several points. That pattern, of dancers performing choreography next to the singer who sometimes dances too, is one repeated throughout the show, and works well to keep things hopping. The costumes are great, and 1990s period perfect.

The choreography and singing is spot-on, and the musical is packed with favorites, not just the hit “Girl on Fire,” but “New York State of Mind,” “If I Ain’t Got You,” “You Don’t Know My Name,” and more. Maya Drake is terrific as Ali, acting, singing and dancing with remarkable energy and appeal. However, the standout voice actually belongs to Kennedy Caughell, who plays Ali’s mom Jersey, and belts out song after song with bluesy power. The performer with the most striking stage presence is Roz White as the mesmerizing Miss Liza Jane. Besides those cast members, two dramatic standouts are JonAvery Worrell as Knuck, and Desmond Sean Ellington as Ali’s cdad Davis.

The whole production is a delight, whether one is a big Alicia Keys fan or not, with a winning story of growing up, finding one’s path, navigating new feelings, and discovering a new kind of closeness with parents.

All around, it is an excellent show. Alicia Keys is known for her storytelling in her songs, so it’s no surprise the storytelling is so good in this musical. “Hell’s Kitchen” has the right balance of songs and storytelling, with plenty of heartfelt, real emotion and universal experiences. Whether one is a big Alicia Keys fan or not, it is a delight, but an extra one for her many fans

Alicia Keys’ “Hell’s Kitchen” is on stage at the Fabulous Fox through Feb. 8, 2026.

© Cate Marquis