Alicia Keys’ ‘Hell’s Kitchen’ Musical Is A Childhood Dream Manifested
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Ask Alicia Keys and she’ll tell you: Hell’s Kitchen had to be a musical. As the daughter of a performer growing up enamored by the bright lights of New York City, it only made sense. The native New Yorker credits plays like Rent and its impactful method of storytelling as the inspiration behind her debut Broadway production. Though she doesn’t star in the musical—and never planned to—Keys is happy playing more of a background mastermind type of role when it comes to Hell’s Kitchen. Yet, she praises its director Michael Greif (who directed Rent in 1996), its writer Kristoffer Diaz, its choreographer Camille A. Brown, and her musical partner Adam Blackstone, for really helping bring the story to life.
Set in the mid-‘90s Manhattan neighborhood of Hell’s Kitchen, the musical follows 17-year-old Ali—a biracial girl who finds solace in the “symphony of the street,” and with the help of her piano teacher, discovers her strength and her voice. Sound familiar?
Though the play isn’t autobiographical, her life inspired the art. “The characters are definitely inspired by the city, inspired by my experiences of individuals and people. And I think that’s what gives it the richness and the relatability that you experience when you come,” she explained on our lively phone call. “To me, that’s why it feels so good, how art does imitate life because you’re able to take the experiences, those fundamentals, those emotions, those connections, those layered, complex behaviors of humanity and put it all together into these stories that really, really hit you.”
The 42-year-old artist has a childlike joy about her that permeates through the phone as she discusses the journey to Hell’s Kitchen. It makes you want to run out and watch the musical in that moment, just so some of that euphoria can rub off on you—whether New York City is your hometown or you’re a creative with a dream that you’re ready to share with the masses. Ahead of the Broadway debut of Hell’s Kitchen coming this Spring, learn the full story behind the musical from the architect herself.
VIBE: Why did you choose to do a musical and not just a standard play?
Alicia Keys: I mean, it had to be a musical, no? I think that’s what’s so amazing. My mother [Terria Joseph, born Teresa Augello] was born in Toledo, Ohio and she always dreamed of being able to be a performer. I don’t think she ever really thought that she would be able to leave [her] small town, but eventually, she found herself accepted to NYU and in the big city. She’s always been an actor. This is part of the life that she helped me grow up seeing theater, experiencing musicals. I remember the first time that I saw Rent. I remember how I was attached to those songs and the emotion of the people. And the story also circled around the AIDS pandemic, conversations that you’re not always thinking about or having, but it would introduce it to you, in a way that really stuck with you. So, I feel like, as time progressed, I realized how incredible this world has always been a part of my life. It’s always been a big part of my mother’s life. And so, I felt like, ‘Well, how incredible would it be to create a story?’ I was recognizing that there weren’t a lot of unique stories that we’re seeing of the Black experience in different ways. This story is about a girl, who’s a daughter of a white mother and a Black father. And, oftentimes, I don’t know if I’ve really seen that.
That representation?
And just seeing our stories, in many different ways and lights. It was really cool to be able to bring that energy, that New York grit and that vibe—center it in the ’90s, which is such a great time. So rich musically. And the grit of the city and the looks and the clothes and the vibes and all of those things that just really bring that all to life.
Maleah Joi plays the lead, Ali and this is her professional debut. What kind of guidance did you offer her to bring Ali to life?
You know, I think that the script itself really brings Ali to life. Kris Diaz—he writes in this very narrative style. And so, a lot of the time that you’re watching the play, you’re seeing Ali, she’s talking to you. You naturally feel her personality, her energy. Maleah is brilliant, by the way. I mean, wow. This is her first experience like this, and she’s just owning it, like a champ.
It’s not easy to tackle Broadway.
F**k [no]. It’s crazy. Many people would be like, ‘Oh. Alicia, you should do Broadway.’ I was like, ‘I’m not doing Broadway. Nah.’ They’re out here doing eight shows a week. When I’m on tour, I’m doing five shows a week—max. So, it is a rigorous schedule for an artist. I think her knowing me and knowing my energy gave her some of that vibe too.
Would you ever return to acting?
[Yes]. Not that I would never do Broadway, either. I wasn’t trying to say that. My point is that it is a real undertaking and I’m really in awe and proud of the artists that are on the stage. There’s just an endless plethora of really special talent. I love acting so much. And being in film is really, really special. I would like to return there— for the right thing.
That’s fair. In creating the score and working with Adam Blackstone, what was that collaborative process like?
Aww. It was so good. I mean, Adam is my guy. He’s also uber ridiculously talented. We’ve done a majority of my tours and a majority of my musical arrangements so, it was really exciting. There’s some songs that obviously are the favorites. There’s some that are brand new and there’s some that maybe are really quite deep in the catalog. In a lot of ways, you probably are hearing some of these songs for the first time. That was one of the most fun parts, because some songs you’re used to hearing might be quite anthemic, but the way that we play them in Hell’s Kitchen is totally opposite. You really see how the music helps tell the story and I think we found a really great balance. The songs support that story so beautifully. I love that we’ve been able to do this together and kind of enter into this new space together.
What would you say is the greatest lesson that creating and executing Hell’s Kitchen taught you as an artist?
That there’s no limit to how you can express [yourself]. That there’s so much creativity that you can encounter. That things take time and it’s just no rushing the time that it takes to make things what it should be. I feel like that’s something that I feel really, really proud of. We can always continue to refine any piece of art, but [this musical] really has had the time to become its own special thing. I think that’s one of the big takeaways— how special time is. You can’t rush the good things.
Did you ever envision this for yourself, when you were younger?
Theater?
Yeah.
In a way, it’s been my destiny. I love this moment because it’s kind of like this is [my mother’s] dream. Now, we’re able to experience it together. We’re able to live it together and watch it flourish together. And it’s really powerful. I mean, this is because of what she exposed me to. So, again, my gratitude for her just continues to be bigger and bigger.
That’s beautiful. So, what do you want your fans, new or old, to take away from this musical?
Well, first of all, I want the ones who swear they don’t like musicals, the ones who are just like, ‘A musical’s not my thing,’ but I want you to know that this one is going to change your whole mind about what you think a musical is. Two, I just want the people who have connected with me over the years, who love my music or didn’t get that deep into it—I want you to feel the power of an everyday story, an everyday existence and the way that there is no limit for any of us, in any way. Ultimately, love is at the heart of everything. And if we don’t have anything else, if we have just a little bit of love, man, it can really change our lives. I think that’s more important than ever. Just remembering how special we are to each other and not to forget that is what I hope people take away.
Hell’s Kitchen is currently playing at the Public Theater through mid-January. It will premiere on Broadway at The Shubert Theater in late March. Tickets are now on sale to the general public.
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