Elevator Thoughts (aka Tweet): Alicia Keys’ Hell’s Kitchen jukebox musical at the Paramount Theatre from Broadway Across America and Seattle Theatre Group. Captured the infectious pulse of ’90s Manhattan through urban choreography, a sick beat, and spot-on period-accurate costumes/wigs. Starring Maya Drake. Formidable belt from Kennedy Caughell. Regal perfection from Roz White. Buy your tickets before it leaves Seattle 7/26! 🎭
See it, especially if you enjoy Alicia Keys’ music.
Was This the First Time I Attended a Production of this Show? No, I’ve seen the original Broadway production. You’ll notice similarities in my impressions between both the original Broadway production and this national touring production.
Would I See It Again 3 Years from Now? Yes
Mainstream Appeal: Medium to high
If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes
My Synopsis (No Spoilers): Loosely inspired by the life of Alicia Keys, this story follows 17-year-old “Ali” as she navigates love, loss, family drama, music, and self-discovery through the rhythmic pulse of Manhattan.
Synopsis from the Licensor or Theatre Company: Ali is a 17-year-old girl full of fire – searching for freedom, passion and her place in the world. How she finds them is a New York City coming-of-age story you’ve never felt before – HELL’S KITCHEN, a new musical from 16-time Grammy® Award winner Alicia Keys, whose new songs and greatest hits about growing up in NY inspire a story made for Broadway. Rebellious and stifled by an overprotective single mother, Ali is lost until she meets her mentor: a neighbor who opens her heart and mind to the power of the piano. Set to the rhythm of the 90s, HELL’S KITCHEN is a love story between a mother and daughter. It’s about finding yourself, your purpose, and the community that lifts you. Come remember where dreams begin. Hailed as a New York Times Critic’s Pick that is, “thrilling from beginning to end – a rare must-see!” HELL’S KITCHEN is directed by four-time Tony Award nominee Michael Greif, with choreography by four-time Tony Award nominee Camille A. Brown, a book by Pulitzer Prize finalist Kristoffer Diaz, and the music of Alicia Keys.
Type: Musical
World Premiere: No
Several or Few Scenes: Several
Several or Few Settings/Locations: Several
Static (Stationary) or Dynamic Set: Dynamic
Prior Exposure/Knowledge Required: Obviously, you’d appreciate this more if you’re familiar with Alicia Keys’ discography.
Defined Plot/Storyline: Yes
Union Actor(s): All
Total Actor(s): Too many to count
Perceived Pace of the Show: Medium speed
Was there an intermission? Yes
Length (Including Any Intermission): 2.5 hours
Other Rave(s)
- Performers & Vocals: Kennedy Caughell showcased a remarkable upper register and an impressive belt as Ali’s mother, Jersey. The crowd went wild during her attitude-filled rendition of “Pawn It All.” Roz White brought dignity and excellence to the role of Miss Liza Jane, portraying her as a “powerful, regal queen.” You could feel her raw, palpable emotion during “Perfect Way to Die” sung in reference to a mysterious figure.
As Knuck, Jonavery Worrell possessed a velvety tone with a nice croon in his first number, “Gramercy Park.” Similarly, Desmond Sean Ellington (Davis) delivered an effortlessly smooth vocal performance during his sweet harmonies with Caughell in “Not Even the King.” He later reprised that vocal prowess in the seminal “If I Ain’t Got You,” blending beautifully with Ali (Maya Drake). Perhaps due to its familiarity, this number proved to be the production’s most affecting moment. - Other Song Highlights & Ensemble Work: Occurring just after Ali discovered her love for music, “Kaleidoscope” offered a feast for the eyes and ears, utilizing literal kaleidoscope projections paired with a catchy, rhythmic clapping sequence. During “Girl on Fire,” an underlying tribal beat and robust ensemble vocals significantly elevated the excitement. The ensemble’s sudden entrance during “No One” sounded so impressive that I wouldn’t be surprised if a sweetener track was used. Additionally, “Work on It” emerged as an unexpected delight featuring Swingle Singers-esque staccato vocalizations and some comic relief.
- 90s Nostalgia: The production expertly resurrected the urban vibe of the 1990s. This was evident in Dede Ayite’s costuming (think Tommy Hilfiger and FUBU) and in Tiny’s (Sydney Townsend) period-accurate hair by wig designer Mia Neal), which was reminiscent of Sister Act 2. The choreography by Camille A. Brown was colorful and sharply rooted in the era’s street styles. The arrangements also cleverly incorporated tribal beats throughout the show driving the rhythm from the opening number “The Gospel” in the first act and carrying through unexpectedly to a somber funeral song in the second act.
- Musical Direction & Instrumentation: A particularly fascinating musical element was how the character of Miss Liza Jane (brought to life musically by band keyboardists Emily Orr and Joy Brown) transformed a simple, isolated melody into an unexpected mature, jazzy/soulful piece. Sophisticated arrangements blossomed beautifully when the full accompaniment joined in on the simple melody.
- Projections: The projections designed by Peter Nigrini were used judiciously and never felt like a scenic crutch. They frequently displayed thematic, silhouetted photos in the background during musical numbers. However, a bit more narrative context regarding who the pictured individuals would have been appreciated. The projections also shined in their depiction of the high-rise elevator.
Other Musing(s) and Observation(s)
- Opening Number: The show got off to a slightly rocky start with “The Gospel.” The words were difficult to understand, which was a glaring issue considering this was my second time seeing the show. Imagine the confusion of a first-time audience member! It was unclear whether the issue stemmed from muffled microphones or an overzealous band/ensemble overpowering the principal singers. The script compounded the auditory issues leaping too quickly into action without easing the audience into the world with adequate slower exposition.
- Ali: In both the Broadway and touring productions, the protagonist Ali (played here by Maya Drake) suffered from fundamentally unlikable writing. Her intense, random obsession with a boy bordered on an adolescent Fatal Attraction complex. Consumed by her own immediate desires, she remained entirely oblivious to the pain of the most important person in her life. Ultimately, she came across as an ungrateful teenager complaining about life on the 42nd floor of a Manhattan high-rise. She embodied the tired cliché of a rebellious teenager battling a caring single parent.
- Jukebox Musical:
The production frequently fell into the standard traps of the jukebox musical genre. There were several instances where songs felt stuffed into random scenes simply to meet an Alicia Keys quota. These far-fetched placements stripped the musical of narrative intention and felt a bit soulless.
The most glaring example was the inclusion of “Empire State of Mind” as the finale. The book simply did not culminate in a way that earned this famous anthem. Its placement felt forced and artificial. It’s as if they tacked it on merely to send the audience home with a familiar, feel-good tune. Furthermore, the onstage energy failed to do the original song justice. Given that the show’s core narrative wasn’t inherently about New York City, ending with a song glorifying the metropolis felt unearned. This song probably would have been more at home at the top of the show to establish Ali’s world.
Theatre Company: National Tour from Broadway Across America and Seattle Theatre Group
Venue: Paramount Theatre
Venue Physical Address: 911 Pine St, Seattle, WA 98101
Price Range: 50-170 USD plus the hefty Ticketmaster fees if you don’t buy at the box office.
Ticket Affordability Options: Seattle Theatre Group might partner with an organization you’re affiliated with for discount tickets. For example, I believe UW employees/students are still eligible for an organization discount.
Dates: July 21 – 26, 2026
Seating: Assigned Seats
Parking: Paid street parking and paid garage parking. The best parking garage is under the convention center w/ the entrance on Pike around the Pike and Terry intersection. Last I checked, this is one of the cheapest, least busy, and closest garages. Alternatively, you can probably find street parking as you move closer to the West Precinct (810 Virginia St, Seattle, WA 98101). Do NOT park where the Paramount subscribers park. Last I checked, they usually park in the garage attached to the former Cheesecake Factory. It’ll take you at least 30 minutes to exit that garage after the show.
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Buy a Ticket or Learn More:
- https://hellskitchen.com/tour/
- https://www.stgpresents.org/events/hells-kitchen/
- https://seattle.broadway.com/shows/hells-kitchen/
- Program
Photos: See production photos below by Marc J. Franklin.
Cast and Production Team: See after photos below.
Hell’s Kitchen
July 21–26, 2026
Presented By
AK Worldwide Media, Inc.
DML Productions, Mandy Hackett, The Sunshine Group, Serena Williams/Nine Two Six Productions, The Jacobs Family, John Gore Organization, Clara Wu Tsai, TodayTix Group, Score 3 Partners, No Guarantees Productions, Front Row Productions, Sharpton Swindal Productions, Grove Entertainment, James L. Nederlander, Candy Spelling, Universal Music Publishing, Independent Presenters Network, Della Pietra Spark Theatricals, Chuchu Nwagu Productions, Terria Joseph, Julie Yorn, Andy Nahas.
- Executive Producer: Aaron Lustbader
And The Public Theater
- Artistic Director: Oskar Eustis
- Executive Director: Patrick Willingham
Present
Creative Team
- Music and Lyrics by: Alicia Keys
- Book by: Kristoffer Diaz
- Directed by: Michael Greif
- Choreography: Camille A. Brown
- Music Supervision: Adam Blackstone
Cast
Starring:
- Kennedy Caughell
- Roz White
- Desmond Sean Ellington
- Jonavery Worrell
Ensemble:
Stemarciae Bain, Miya Bass, Jaylen T. Bryant, Rashada Dawan, Sherée Marcelle Dunwell, ‘Zaiah Ellis, Mae-Lynn Flores, Destini Hendricks, Sean Holland II, Marques Furr, Alfred Jackson, Christopher Miller, Usman Ali Mughal, Chikezie “Chike” Nwankwo, Sangeetha “Sang” Santhebennur, Marley Soleil, Beda Spindola, Asten Stewart, TeeTee, Sydney Townsend, Timothy Wilson, Ethan Zundell.
And Introducing:
- Maya Drake
Design & Production
- Scenic Design: Robert Brill
- Costume Design: Dede Ayite
- Lighting Design: Natasha Katz
- Sound Design: Gareth Owen
- Projection Design: Peter Nigrini
- Hair & Wig Design: Mia Neal
- Makeup Design: Michael Clifton
- Associate Director: Monet
- Associate Choreographer: Rickey Tripp
- Music Consultant: Tom Kitt
- Associate Music Supervisor: Lily Ling
- Orchestrations: Tom Kitt, Adam Blackstone
- Music Director: Emily Orr
- Arrangements: Alicia Keys, Adam Blackstone
- Music Contractor: Kristy Norter
- Tour Booking, Marketing & Publicity: Bond Theatrical
- Casting: Kate Murray, CSA; Heidi Griffiths, CSA
- Associate Producer: Ana Lara
- Production Stage Manager: Veronica Aglow
- Production Management: Juniper Street Productions
- Company Manager: Doug Rodgers
- General Management: Foresight Theatrical, Nick Ginsberg, Steve Greer
Originally developed by and received its world premiere production at The Public Theater on November 19, 2023.
Oskar Eustis, Artistic Director; Patrick Willingham, Executive Director; Mandy Hackett, Director, Public Theater Productions.