Preview Post – Smash – Musical – Imperial Theatre

Smash Broadway musical at the Imperial Theatre. It’s a dang shame it closes this weekend 6/22/25. Don’t wait for my full review to buy tickets! #methodActing #marilynMonroe

Tickets: https://smashbroadway.com

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Preview Post – Real Women Have Curves – Musical – James Earl Jones

Real Women Have Curves musical at the James Earl Jones Theatre in the NYC Broadway district. Full review coming soon, stitched with love like the dresses. #Mexican #hispanic #spanish

Tickets: https://www.realwomenhavecurvesbroadway.com/

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Hell’s Kitchen – Musical – Review – Shubert Theatre

@showsiveseen #AliciaKeys & Kristoffer Diaz's "Hell's Kitchen" jukebox #Broadway #musical starring @maleah???? (Understudy Amanda Reid) at the Shubert #Theatre . Loved Kecia Lewis's sage matriarchal portrayal. Excellent sound design from Gareth Owen. #Review : showsiveseen.com/12020 Director: Michael Greif Choreography: Camille A Brown Conductor: Lily Ling Stage Mgrs: Danny Maly, Roxana Kahn, & Anthony Rigaglia @Alicia Keys @Hells Kitchen #showsiveseen ♬ Girl On Fire (Glee Cast Version) – Glee Cast

Elevator Thoughts (aka Tweet): Alicia Keys & Kristoffer Diaz’s Hell’s Kitchen jukebox musical starring Maleah Joi Moon (Understudy Amanda Reid). Loved Kecia Lewis’s sage matriarchal portrayal. Excellent sound design from Gareth Owen.

Recommendation:
See it!


Was This the First Time I Attended a Production of this Show? Yes

Would I See It Again 3 Years from Now? Yes

Mainstream Appeal: High

If A Random Stranger Asked What Show They Should See This Weekend, Would I Mention This Production? Yes

My Synopsis (No Spoilers): A spirited teenager from urban Manhattan navigates adolescence (think rebellious boy-crazy teenager) while discovering her innate musical talent. With guidance from her wise old neighbor, she hones her skills and finds her true voice in the process.

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 17-time Grammy® Award winner Alicia Keys, whose songs and experiences 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.

Type: Musical

World Premiere: Technically no, since it was originally produced off-Broadway

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Mostly dynamic

Prior Exposure/Knowledge Required: You’d probably appreciate this show more if you’re familiar with Alicia Keys’s discography

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: 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)

  • Hook: The musical opened with an energetic burst of street dancing that immediately captured the audience’s attention. Too often, musicals start too subtly, losing momentum right away. Unfortunately, after this dazzling introduction, the plot lost some of its initial spark. However, the production eventually found its rhythm and hit its stride.
  • Miss Liza Jane: Kecia Lewis delivered a standout performance as Miss Liza Jane, the sage and formidable neighborhood piano teacher. Her portrayal reminded me of my own strict piano instructor growing up who was skillful, wise, and deeply passionate about her craft. Miss Liza Jane embodied the very spirit of “Black Excellence.” She was a mentor who would undoubtedly champion its importance at every opportunity.
  • Sound Design: Sound engineering is often best when it goes unnoticed. But in this performance, it stood out in all the right ways. The balance of reverb and echo was perfectly calibrated. Even the smallest detail like the crisp, precise sound of a chopping knife was crystal clear. Whether it was the result of top-tier microphones or the natural acoustics of the Shubert Theatre, I was impressed. As this show embarks on its national tour, I hope the sound design in each venue lives up to this original NYC Broadway production.
  • Smooth Male Leads: This performance often radiated a captivating, smooth male energy. Brandon Victor Dixon’s voice was effortlessly smooth and it perfectly embodied the Davis character who was a charming yet flawed father full of empty promises. He was the type of man who can sweep you off your feet, only to disappoint you in the long run. In contrast, Phillip Johnson Richardson (who played love interest Knuck), also brought a smooth vocal quality to his performance, but his character was intentionally written to be less of a “playa” than Davis. Knuck refreshingly portrayed a regular non-thug man who went to church and didn’t want to be admired on a pedestal. It was an interesting contrast between these two characters, especially when you consider the old saying that we tend to date people with similar personalities as our parents.
  • Jersey: Jessica Vosk portrayed the role of a no-nonsense prickly urban mom who clearly loved her child. Her performance brought to mind Sheryl Lee Ralph’s iconic portrayal of the tough-love mother in Sister Act II who famously declared, “Singing does not put food on the table!” Vosk captivated the audience as she showcased her powerful vocal belt in the high notes of a song that explored the complexities of parenthood.
  • Tragedy: A heartbreaking moment in the second act clearly moved the audience. I could hear soft sniffles and see glistening tears nearby. I *might* have shed a tear myself. 😛 At one point, the person behind whispered to her friend, “Am I crying?!?” It’s a powerful reminder that great art can stir emotions.
  • Altercation: Speaking of raw emotions, one standout moment was the scene between Ali (played by Maleah Joi Moon) and Jersey engaging in an impassioned argument between an angsty rebellious teenager and a tired strict parent. The exchange was charged with tension, featuring two delicious “oh snap!” moments of physical outbursts.
  • Choreography: Camille A. Brown’s choreography felt purposeful and meaningful. Many moments, such as a poignant dance solo during a funeral scene, showcased interpretive dance-like movement to convey emotion and enhance the storytelling.
  • Piano: As expected from an Alicia Keys musical, piano music played a central role, weaving together jazzy and bluesy melodies rich with vibrant dissonance.
  • Costume Design: Costume designer Dede Ayite expertly recreated the aesthetic of 1990s urban fashion, particularly through the use of iconic pieces like Tommy Hilfiger and FUBU. The wardrobe choices evoke a nostalgic vibe, reminiscent of the style in Sister Act II.

Rant(s)

  • Ali: Ali was not written as a particularly likable protagonist. The “nobody understands me” rebellious teenager trope always annoys me. In her romantic relationship, she gave away her cards too easily. She was the female equivalent of a guy who disregards a woman’s boundaries and refuses to take no for an answer. While this might be seen as a feminist portrayal, she came across as selfish. Ali’s self-absorption was so intense that she failed to recognize the tragedy unfolding right in front of her until it was too late.

Other Musing(s) and Observation(s)

  • “Empire State of Mind” Song: As an Alicia Keys jukebox musical performing literally next to the Hell’s Kitchen neighborhood, it’s no surprise that “Empire State of Mind” was featured on the setlist. Unfortunately, its inclusion felt awkward and out of place within the show. Rather than seamlessly fitting into the narrative, it seemed more like a pandering attempt to capitalize on the song’s popularity. The performance also began in a key that was too low. While I certainly enjoyed hearing the song, it would have been much more impactful earlier in the show when Ali first expresses her love for New York City. It’s strange how the musical began as an ode to NYC, only to eventually abandon that theme. Similarly, the title and synopsis seem to suggest a deeper connection to NYC or the Hell’s Kitchen neighborhood, yet the story didn’t fully explore these elements.
  • Manhattan Plaza: Many scenes took place in the Manhattan Plaza building, which in reality is subsidized housing. However, the musical didn’t depict it like a low-income building. It seemed like a luxury high-rise in the musical, complete with a doorman and a grand piano. Weirdly, Ali ungratefully complained about feeling like a prisoner in a tower. Perhaps it’s due to my suburban background, but I’d love to live in a New York City high-rise like that. Give me that ivory tower!

Venue: Shubert Theatre

Venue Physical Address: 225 W 44th St, New York, NY 10036

Venue Classification: Broadway

Price Range: $58 to $321

Ticket Affordability Options: You can likely buy discount tickets at the TDF TKTS booth.

Seating: Assigned Seating

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Pictures: See production pictures below by Marc J Franklin.

Cast and Production Team: See after pictures below.

Jessica Vosk as Jersey and Maleah Joi Moon as Ali. Photo by Marc J Franklin.
Kecia Lewis as Miss Liza Jane and Maleah Joi Moon as Ali. Photo by Marc J Franklin.
Phillip Johnson Richardson as Knuck and Maleah Joi Moon as Ali. Photo by Marc J Franklin.
The Original Broadway Company of HELL’S KITCHEN. Photo by Marc J Franklin.
Lamont Walker II as Riq, Phillip Johnson Richardson as Knuck, and Jakeim Hart as Q. Photo by Marc J Franklin.
The Original Broadway Company of HELL’S KITCHEN. Photo by Marc J Franklin.
Brandon Victor Dixon as Davis and Maleah Joi Moon as Ali. Photo by Marc J Franklin.
Credits from the printed Playbill program.
Credits from the printed Playbill program.
Credits from the printed Playbill program.
Credits from the printed Playbill program.
Credits from the printed Playbill program.

The Museum of Broadway – Review

@showsiveseen The #Museum of #Broadway in New York City's #Manhattan #Theatre District. Offered a surprising amount to see, with plenty of photo-worthy spots perfect for selfies! Review: showsiveseen.com/11337 Executive Producers, Creative Directors, Conceived By: Julie Boardman & Diane Nicoletti General Manager: Elie Landau Curators: Ben West, Jennifer Ashley Tepper, John Kenrick, Michael McDonald, & Lisa Zinni #nyc #newYorkCity #newYork #musicals #plays @The Museum of Broadway ♬ #BrooklynBloodPop! – SyKo

Elevator Thoughts (aka Tweet): The Museum of Broadway in New York City’s Manhattan Theatre District. Offered a surprising amount to see, with plenty of photo-worthy spots perfect for selfies and Instagram!

Recommendation:
See it, especially if you enjoy plays and musicals. Bonus points if you also like reading the dramaturgical articles in playbill programs.


Was This the First Time I Visited this Museum? Yes

Would I See It Again 3 Years from Now? Yes, if their exhibits changed by more than 50%, so I could see something new.

Mainstream Appeal: Medium to high

My Synopsis: The experience begins with Broadway’s theatrical roots and the Ziegfeld Follies. It continues through each era, highlighting iconic musicals such as Oklahoma!, Company, West Side Story, Hair, and Rent. Special exhibits also delve into the creation of a musical, exploring behind-the-scenes roles like stage management, and a focus on Disney musicals.

Synopsis from Company: Walk through Broadway’s history, starting in 1732 with the first documented performance in NYC, and go backstage with your favorite Broadway stars to learn how a show is made. As you walk the timeline, you’ll come upon exhibits dedicated to groundbreaking moments in Broadway’s history – those that pushed creative boundaries, challenged social norms, and paved the way for those who would follow. The Museum of Broadway was designed by internationally renowned artists, designers, and theatre historians.

Type: Museum

Prior Exposure/Knowledge Required: No, but you’ll obviously appreciate this experience more if you know a little about musical theatre.

Length: It’s whatever length you make it. I spent around 1.5 hours there.

Other Rave(s) Not Mentioned Above

  • Photo Opportunities: The museum did a great job in ensuring there were plenty of Instagram-able moments. For example, the museum allows you to sit in the letter “C” (from the musical Company) and take a selfie. I’ve always wondered where the below iconic picture came from that I see everywhere on Instagram.
  • Lockers: Complimentary lockers were available to store belongings so you wouldn’t need to haul them around the museum.
  • Content Quantity: For a venue with such a tiny footprint, there was unexpectedly an almost overwhelmingly number of exhibits to see! I was originally anticipating much less at the Museum of Broadway since I visited the Museum of Sex earlier (a 25-minute walk away), which was surprisingly sparse.
  • Unsung Heros: Some exhibits towards the end focused on roles in live theatre that don’t get much spotlight like stage management, stagehands, and sound board operators.

Venue: The Museum of Broadway

Venue Physical Address: 145 W 45th St, New York, NY 10036

Price Range: Around $40-50

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Production Team: See after pictures below.

Photo by Emilio Madrid.
Ziegfeld Follies Exhibit. Photo by Darren Cox.
Exhibit on Jukebox Musicals. Photo by Darren Cox.
The Phantom of the Opera Costumes. Photo by Monique Carboni.
Exhibits on Rent and Bring in ‘da Noise, Bring in ‘da Funk. Photo by Monique Carboni.
The Making of a Broadway Show Exhibit. Photo by Darren Cox.
The Making of a Broadway Show Exhibit. Photo by Darren Cox.

Cabaret at the Kit Kat Club – Immersive Musical – Review – August Wilson Theatre 

@showsiveseen "#Cabaret" at the @KitKatClubNYC in the August Wilson #Theatre on #Broadway. Starring @Adam Lambert, Calvin Leon Smith, & Auliʻi Cravalho. Novel #immersive food/bar/club experience of a #musical #revival. #showsiveseen ♬ Cabaret – Liza Minnelli

Elevator Thoughts (aka Tweet): Cabaret at the Kit Kat Club in the August Wilson Theatre on Broadway. Starring Adam Lambert, Calvin Leon Smith, & Auliʻi Cravalho. Novel immersive food/bar/club experience of a musical revival.

Recommendation:
See it!


Was This the First Time I Attended a Production of this Show? No, I’ve probably seen this musical in around 5 different past productions (including the national tour).

Would I See It Again 3 Years from Now? I don’t know … 5 times is already an awful lot of times to see a musical. Maybe I would if the next show has an even more unique gimmick than this production.

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): An American writer relocates to pre-WWII Berlin and witnesses German society’s gradual fall to the Nazis through the eyes of a cabaret at the notoriously risqué Kit Kat Club.

Synopsis from the Licensor or Theatre Company: The denizens of the Kit Kat Club have created a decadent sanctuary inside Broadway’s August Wilson Theatre, where artists and performers, misfits and outsiders rule the night. Step inside their world. This is Berlin. Relax. Loosen up. Be yourself.

Type: Immersive Musical

World Premiere: No

Several or Few Scenes: Several

Several or Few Settings/Locations: Several

Static (Stationary) or Dynamic Set: Static and austere

Prior Exposure/Knowledge Required: You should have a very general knowledge of Nazi Germany

Defined Plot/Storyline: Yes

Live Band/Orchestra: Yes

Union Actors: All

Total Actors: Too many to count

Perceived Pace of the Show: Medium speed

Was there an intermission? Yes

Length (Including Any Intermission): 2.75 hours

Other Rave(s) Not Mentioned Above

  • Immersive Experience: Other than the celebrity casting, the main draw of this revival was the unique immersive experience.
    • Alley and Basement: One hour before the main show began (7PM on an 8PM ticket), the doors opened, and ticket scanners ushered us in. They led us down a dimly lit, green-tinged alley, evoking the feeling of entering a hip, secret underground club. Soon, we found ourselves packed like sardines in a cramped basement, standing room only, with a small stage and two dance platforms. Performers mingled among the crowd while dancing, miming, and playing Yiddish-inspired music on a clarinet, violin, accordion, and bass. All of this unfolded beneath the watchful gaze of a mesmerizing, rotating eye overhead.
    • First Floor Lobby: Patrons could wander up the stairs to the orchestra-level lobby, where actors performed at a naked upright piano. With so much happening in this freestyle scattered atmosphere, I felt a feel a bit of FOMO, unsure of where to focus as performers roamed across two of the venue’s three floors. But thankfully, none of the pre-show immersion activities were consequential to the main performance of the musical. Eventually, an overhead announcement encouraged guests who wanted to order food (nothing too substantial) to head to their seats. Later, another announcement invited patrons who wanted a drink to do the same. However, drinks were already available at any lobby bars in the basement, first floor, or second floor.
    • Main Theatre Performance Space: The immersive performing troupe eventually made their way to the main theater, which had been transformed from its traditional front-facing seat configuration into a theater-in-the-round. On the ground level, tables with waiter service surrounded the stage, offering a more intimate setting, while more traditional theater seating was arranged behind them, each with a drink bench in front and ample leg room. The second level featured the orchestra positioned on either side of the stage, with mezzanine and balcony seating facing both the front and back of the stage. For a better understanding of the complex lay of the land, refer to the seat maps at the end of this article. The immersive actors occasionally weaved through the tables, engaging with the audience closest to the stage, before culminating in a final performance on the stage. At this point, the main cast took over as the lights retracted to the ceiling. The immersive performers were a distinct group, separate from the main cast. Once the musical began, their immersive role appeared to have concluded for the evening.
    • Second Floor: The mezzanine/balcony area was devoid of any novelty found in the basement and first floor. The seating was ordinary, there was no table service, and no interactive performers appeared on that level.
    • Verdict: After about 30 minutes of the 60-minute pre-show immersive experience, I was over it and headed to my seat, especially since I attended alone. The immersive experience would be more enjoyable with friends, as you’d have the chance to chat together *and* be entertained during the pre-show, which is opposite from a traditional musical experience where you can’t talk during the show. Regardless of whether you go solo or with companions, make sure you arrive at least 30 minutes before the main performance starts to fully experience the novelty and to milk the most bang for your buck. That said, the pre-show isn’t essential for enjoying the main performance.
  • Stage: While I’m inherently not a fan of theatre-in-the-round configurations (since the actors sometimes face away from you), it worked well for the show’s theme on novelty. The tiny central stage was sadly austere with no set design, but it featured a trap door and rotating mechanisms. Additionally, the tiered, wedding cake-like pedestal mechanism was a perfect for the theatre-in-the-round setup.
  • Costumes: Tom Scutt (who was also the scenic/theatre designer) created memorable costumes for the show’s stars, including a bejeweled, skeleton-inspired outfit and a creepy, old-timey clown mime costume for Adam Lambert (who played the emcee). Auli’i Cravalho’s (who played Sally Bowles) baby doll dress was also a standout.
  • “Don’t Tell Mama” Song: Auli’i Cravalho wore her baby doll dress during “Don’t Tell Mama,” while her supporting performers donned baby bonnets. The baby theme was a perfect choice for the scene, and it even incorporated the viral Gen-Z TikTok meme “I’m just a baby!”
  • Prairie Oyster: Did Auli’i really drink a whole raw egg on stage? If so, bless her. If not, that was good stage magic!
  • Showstopper: The audience was captivated by Auli’i’s emotional rendition of “Cabaret,” delivering the song with such feeling that it earned her an extended ovation.
  • Pineapple Innuendo: Steven Skybell (who played Herr Schultz) cleverly added a touch of sexual innuendo by licking his fingers and placing his pineapple in a brown bag. It was a playful nod to more mature themes!
  • Shattered Glass: Transitioning from the joyful Jewish tradition of breaking the glass at a wedding to the violent, Kristallnacht-inspired Nazi vandalism was a powerful artistic choice. It effectively shattered the sense of hope for the protagonists, symbolizing the stark contrast between celebration and the looming threat of destruction.
  • Nazi Portrayal: The eerie, identical blonde Nazi dolls were another effective artistic choice. Initially introduced during the song “Tomorrow Belongs to Me” where they appear as unsettling figures rotating on stage, the dolls serve as a haunting foreshadowing. In the final scene, this imagery is echoed when most of the cast appears blonde dressed in identical Nazi uniforms, stripped of their vibrant Kit Kat Club personas, silently rotating on the stage. This stark transformation emphasizes the loss of individuality and the regime’s oppressive conformity.

Other Musing(s) and Observation(s)

  • Guidance and Direction: Throughout the pre-show immersive experience, I often felt uncertain about where to go. For instance, the audience (myself included) was packed tightly together like sardines in the basement for a while and unaware that we could explore upstairs for more. The audience relied heavily on ushers to direct us, which, while helpful, diminished the hip underground free-spirited club vibe.
  • Phones: After initially passing through the green alley corridor and before entering the building’s maze, ushers placed stickers over our phone camera lenses as a reminder not to take photos or videos, even before or after the actual performance. It’s unfortunate that capturing the ambiance wasn’t allowed, especially since it’s difficult to conceptualize or verbally describe. However, I understand that this is done to preserve the copyright and regulations of the pre-show immersive performance. That said, it might have been reasonable to allow photos during intermission, when there were far fewer immersive performers present. Allowing patrons to capture the unique atmosphere for social media would encourage more ticket sales.
  • FAQ: I *highly* suggest reading the show’s frequently asked questions to prepare yourself on what to expect from this unique experience.

Venue: August Wilson Theatre

Venue Physical Address: 245 W 52nd St, New York, NY 10019

Venue Classification: Broadway

Price Range: $52-500

Ticket Affordability Options: You can likely buy discount tickets at the TKTS booth.

Dates: First preview was 4/1/24 and opening night was 4/21/24. As of 1/14/25, you can buy tickets as far as 7/20/25.

Seating: Assigned Seating

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Pictures: See production pictures below

Cast and Production Team: See after pictures below.

Adam Lambert and Auli’i Cravalho. Photo by Gina Manning.
Michelle Aravena as Fritzie Kost. Photo by Julieta Cervantes
Calvin Leon Smith as Clifford Bradshaw. Photo by Julieta Cervantes.
Adam Lambert (center in black) as Emcee. Photo by Julieta Cervantes.
Adam Lambert (center) as Emcee. Photo by Julieta Cervantes.
Adam Lambert and Auli’i Cravalho.
Steven Skybell as Herr Schultz and Bebe Neuwirth as Fraulein Schneider. Photo by Marc Brenner.
Screenshot from First Floor Layout from SeatGeek.
Screenshot of Second Floor Layout from SeatGeek.
Production Credits from Playbill.
Production Credits from Playbill.
Production Credits from Playbill.
Production Credits from Playbill.
Production Credits from Playbill.
`Production Credits from Playbill.
Production Credits from Playbill.
Production Credits from Playbill.