Alicia Keys’ ‘Hell’s Kitchen’ brings the heat to Toronto, Canada Reviews

There was a moment at last night’s opening of Hell’s Kitchen at the Ed Mirvish Theatre, and it left the room shook. The Alicia Keys jukebox musical has landed in Toronto for an extended stay until Oct. 25 and here’s what went down.

Some jukebox musicals are great, some are flops. But, ultimately, people go because of the love of the artists and their music. If you love the music of Alicia Keys, this musical is for you and you’ll love it. But, it doesn’t end there. Even if you don’t know the music very well, although you’ll surely know at least two songs, there are many reasons why you should, too.

For many jukebox musicals, the plot is all-too-clearly tacked on, an ill-fitting construction designed to propel the musical forward but offering little narrative oomph. Here, we have a semi-fictional story of Keys’ formative years in New York City through to her introduction to music. It’s a little storybook, coming-of-age fable that is touching in a Disney sort of way. There is a strict mother, an absent father, budding love and a wise mentor. It should sound familiar.

It is touching, although as predictable as most Disney movies. There isn’t a surprise or shocking twists and turns. There isn’t even anything all that deep. But, I found it to be compelling. What works is the idea of passing down traditions, the power of community and the importance of matriarchs. These plot lines are all solid foundations upon which this musical sits.

There are tender and powerful moments. There are moments that will speak to people.

But, in the end, a jukebox musical will shine or fade away based on the performances. And, to be very clear, the Hell’s Kitchen performers on stage last night blew the roof off of one of the city’s grand old theatres.

This musical is a success, it is one I recommend based on three performers, three women, three generations: Maya Drake in the lead, as 17-year-old Ali, Kennedy Caughell as Jersey, Ali’s strict and protective single mother, and Roz White as Miss Liza Jane, Ali’s piano teacher. 

The scene is a Manhattan Plaza apartment building in ’90s New York City in the neighbourhood of Hell’s Kitchen. From here, Ali experiences a coming of age in more ways than one.

Hell’s Kitchen is Drake’s first professional theatre gig, which is kind of shocking. But that also makes her a perfect fit for the role. She brings great energy, a strong voice, and just the right mix of teenage insecurity, confusion and hormonal intensity. 

Her mother, Jersey, played by Kennedy Caughell grows into her role on stage. We witness the transformation from one act to the next, as concern and anxiety for her daughter following in her footsteps that left her pregnant far ahead of schedule slowly consumes her.

That brings us to that moment, which happens in one of the musical’s signature songs: “Pawn it All,” when Caughell’s full range, vocally and emotionally, hits fever pitch. And she hits that note. The one that silenced the crowd. The one that might have cracked a few glasses at the lobby bar. The one that resulted in a roar of applause unlike at any other moment in this show. It was that good.

And, then there is Roz White as Miss Liza Jane. And matriarch who speaks to Ali of traditions, of her history, how she is but the latest in a long line. Here, the musical explores Black history, both politically and musically. Liza Jane is the hub around while this musical turns. Given the immense importance, it is no wonder White was there. She is incredible.

Although she performs a number of times, two key songs are hers and she owns them, completely. She is the perfect amount of fire and ice, wisdom and passion. And, does she ever know how to connect with the audience.

Hell’s Kitchen premiered on Broadway in 2024, and the musical became one of Broadway’s biggest new shows, earning 13 Tony Award nominations and winning two. With Keys’ catalogue at its centre and a story about ambition, family and finding your own voice, it has continued to inspire and impress. 

With these three performers, and Keys’ rich and emotion-packed songs, at the heart of this Toronto production, it is easy to see why this musical moves people.

As far as jukebox musicals go, this is one of the best I’ve seen, not just because of the incredible performances from top to bottom, but because the story gives those songs something to mean. By the end, Hell’s Kitchen feels like much more than a showcase for Alicia Keys’ catalogue. The standing ovation feels earned.