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\u201cHell\u2019s Kitchen,\u201d a loosely fictionalized story inspired by Keys\u2019s own childhood, depicts a short chapter in the life of a 17-year-old growing up surrounded by artists in a New York housing development where most of the units are subsidized for performers. The protagonist, a girl being raised by her single mother, discovers a love for piano, and an attraction to an adult man, while chafing at her mother\u2019s efforts to keep her safe in a gritty neighborhood.<\/p>\n
The musical features new arrangements of Keys\u2019s biggest hits, including \u201cFallin\u2019,\u201d \u201cGirl on Fire,\u201d \u201cNo One\u201d and \u201cEmpire State of Mind,\u201d as well as several new songs the pop star wrote for this show. Keys, who does not perform in \u201cHell\u2019s Kitchen,\u201d has been working on it for more than a decade<\/a> with the playwright Kristoffer Diaz, who wrote the book.<\/p>\n In an unusual move that demonstrates Keys\u2019s long determination to retain control of her own intellectual property and career arc, the musical\u2019s lead producer will be AKW Productions, which is a company Keys owns and describes as \u201cfocused on creating diverse, real, authentic and genuine stories in film, television, theater and music.\u201d Asked whether the stage production, like most commercial Broadway musicals, would also have investors, Keys said, \u201cYes, there\u2019s going to be some really special people that are coming along for the ride.\u201d<\/p>\n The musical is directed by Michael Greif, and choreographed by Camille A. Brown. The downtown cast is led by Maleah Joi Moon as the protagonist, joined by Shoshana Bean as the mother, Brandon Victor Dixon as the absentee father, and Kecia Lewis as the piano teacher. The Broadway cast has not yet been announced.<\/p>\n Reviews were mixed, with many critics praising the performances and the production but saying they wanted more from the story. Writing in The New York Times<\/a>, the critic Jesse Green called the first act \u201cthrilling,\u201d but said it \u201cdisappoints after the mid-show break.\u201d In The Washington Post<\/a>, the critic Peter Marks was underwhelmed, calling it \u201ca perfectly nice musical,\u201d but in The Los Angeles Times<\/a>, the critic Charles McNulty was far more enthusiastic, writing, \u201cI was surprised by how rapturously I fell under the musical\u2019s spell.\u201d<\/p>\n<\/div>\n