'Hell's Kitchen' Brings Broadway to WNYC

Summary

All of It: 'Hell's Kitchen' Brings Broadway to WNYC – A Detailed Episode Summary

Release Date: April 15, 2025
Host: Alison Stewart
Podcast: All of It by WNYC

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Introduction: Celebrating a Broadway Milestone

In this special edition of All of It, host Alison Stewart takes listeners to the vibrant Green Space in Soho for a live broadcast celebrating the one-year anniversary of Broadway's "Hell's Kitchen" musical. Inspired by Alicia Keys' upbringing in New York City, the show has garnered critical acclaim and a dedicated following since its Broadway debut in April 2024.

Featured Guests: The Heart of Hell's Kitchen

Joining Alison are key members of the Hell's Kitchen cast and creative team:

• Jade Milan as Ally, the musical's lead
• Jessica Vosk as Jersey R, Ally's overprotective mother
• Tank, an R&B artist, as Davis, Ally's father
• Keisha Lewis, Tony Award winner, as Ms. Liza Jane, Ally's mentor
• Adam Blackstone, music supervisor and prolific songwriter
• Tom Kitt, musical consultant with an illustrious Broadway resume

Opening Performance: "The River" by Jade Milan

The episode kicks off with Jade Milan delivering a stirring rendition of "The River", setting an emotional tone for the discussion ahead.

Notable Lyrics:

"Cause I'm dying to begin, Follow the river, So I'll follow the river, and I'm gonna catch the wind"
— Jade Milan (00:06:55)

Behind the Music: Adam Blackstone on Song Creation

Alison engages Adam Blackstone in a discussion about the creation of original songs for the musical, particularly "The River". Blackstone highlights Alicia Keys' decade-long vision to translate her music into a theatrical narrative.

"A song like 'The River' speaks about her dreams and aspirations that she was feeling as a young woman growing up in New York City."
— Adam Blackstone (00:06:24)

The Essence of an "I Want" Song: Tom Kitt's Expertise

Tom Kitt explains the strategic placement and emotional significance of "The River" as the musical's quintessential "I Want" song, which encapsulates Ally's desires and sets the stage for her journey.

"It's when the protagonist declares in beautiful tones, their dreams, their wishes, their hopes, their aspirations."
— Tom Kitt (00:08:39)

Character Insights: Tank on Davis's Role

Tank delves into his portrayal of Davis, emphasizing the song's role as a reminder of Ally's deeper motivations and the overarching themes of ambition and self-discovery.

"It reminds me to dig deeper and to go after the dimensions that are calling Ally within the story itself."
— Tank (00:10:09)

Vocal and Performance Challenges: Tank's Broadway Debut

Transitioning to personal experiences, Tank shares the rigorous vocal discipline required for his Broadway debut, highlighting the challenges and adjustments necessary for consistent nightly performances.

"Intentionality in what you eat, the way that you're talking, the times that you eat, the times that you talk."
— Tank (00:12:00)

Orchestration and Musical Evolution: Adam and Tom's Collaboration

The discussion shifts to the intricate process of orchestrating the musical's score. Adam Blackstone and Tom Kitt elaborate on transforming the musical's original arrangements into a full-fledged Broadway production, incorporating strings and horns to enhance the auditory experience.

"This is my baby. You know, it's kind of like getting a new nanny... You have to relinquish those moments and trust yourself with who we have chosen."
— Adam Blackstone (00:13:22)

Highlighting Unique Arrangements: "Fallen" and "If I Ain't Got You"

The cast performs standout numbers from the musical, including Jessica Vosk and Tank's rendition of "Fallen", reimagined as a jazz waltz, and Jade Milan and Tank's soulful rendition of "If I Ain't Got You." These performances underscore the show's innovative approach to blending contemporary R&B with traditional Broadway elements.

Notable Lyrics from "Fallen":

"I keep on falling in and out of love with you, I never love someone the way that I love you."
— Jessica Vosk & Tank (00:16:20)

Personal Journeys: Jessica Vosk and Tank's Broadway Aspirations

Jessica Vosk shares her transition from a Wall Street career to the Broadway stage, detailing the emotional leap and passion that drove her to pursue her true calling in musical theater.

"I took a leap of faith, and I left that job without a safety net. And I just sort of pounded the pavement until I got hurt."
— Jessica Vosk (00:27:05)

Creative Freedom and Collaboration: Jade Milan on the Show's Evolution

Jade Milan reflects on the creative freedom afforded by the production, attributing the musical's success to Alicia Keys' willingness to experiment and collaborate with the creative team.

"This is the first Broadway show where I've had vocal freedom, where I could say, can I try this? Can I try that?"
— Jade Milan (00:44:10)

Emotional Depth: Keisha Lewis on "Ms. Liza Jane"

Keisha Lewis delivers a powerful performance of her character's song, "Ms. Liza Jane," drawing from personal experiences of mentorship and the complexities of raising a young Black boy in New York City.

"When I think of all you could have done, at least you'll stay forever young."
— Keisha Lewis (00:36:10)

Jade shares her emotional connection to the role, highlighting the real-world parallels and the importance of mentorship in her own life.

"Raising a black boy in New York is terrifying... I see all the faces when I do the show. Sometimes I pick one, sometimes I see them all."
— Jade Milan (00:41:38)

Closing Performances: A Final Musical Journey

The episode culminates with a heartfelt duet between Jessica Vosk and Jade Milan, performing another rendition of "If I Ain't Got You," encapsulating the show's themes of love, resilience, and personal growth.

Notable Lyrics:

"No one, no one, no one can get in the way of what I'm feeling."
— Jessica Vosk (00:46:49)

Conclusion: Reflecting on 'Hell's Kitchen's' Broadway Impact

Alison Stewart wraps up the episode by acknowledging the dedication and talent of the Hell's Kitchen cast and creative team. The live broadcast serves not only as a celebration of the musical's success but also as a testament to the enduring spirit of New York City's cultural landscape.

"This has been a tremendous experience, celebrating both off-Broadway and on Broadway. It's been tremendous."
— Jade Milan (00:44:10)

Final Thoughts: Embracing Community and Diversity

All of It underscores the importance of diverse perspectives and the collective effort that drives cultural productions like Hell's Kitchen. The episode exemplifies how shared stories and artistic collaborations can enrich and reflect the multifaceted nature of New York City.

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Notable Quotes with Timestamps:

• "Cause I'm dying to begin, Follow the river, So I'll follow the river, and I'm gonna catch the wind" — Jade Milan (00:06:55)
• "A song like 'The River' speaks about her dreams and aspirations that she was feeling as a young woman growing up in New York City." — Adam Blackstone (00:06:24)
• "It's when the protagonist declares in beautiful tones, their dreams, their wishes, their hopes, their aspirations." — Tom Kitt (00:08:39)
• "Intentionality in what you eat, the way that you're talking, the times that you eat, the times that you talk." — Tank (00:12:00)
• "This is my baby. You know, it's kind of like getting a new nanny..." — Adam Blackstone (00:13:22)
• "I took a leap of faith, and I left that job without a safety net..." — Jessica Vosk (00:27:05)
• "This is the first Broadway show where I've had vocal freedom..." — Jade Milan (00:44:10)
• "When I think of all you could have done, at least you'll stay forever young." — Keisha Lewis (00:36:10)
• "No one, no one, no one can get in the way of what I'm feeling." — Jessica Vosk (00:46:49)
• "This has been a tremendous experience, celebrating both off-Broadway and on Broadway. It's been tremendous." — Jade Milan (00:44:10)

Key Takeaways:

• "Hell's Kitchen" exemplifies a successful fusion of contemporary R&B and classic Broadway storytelling, driven by Alicia Keys' personal narrative and creative vision.
• The musical emphasizes themes of ambition, heritage, and resilience, resonating deeply with both performers and audiences.
• The collaborative efforts of the cast and creative team highlight the importance of diverse talents and perspectives in enriching cultural productions.
• Personal stories from the cast members add a layer of authenticity and emotional depth to the musical's portrayal of life in New York City.

For those interested in experiencing the magic of Hell's Kitchen, Alison Stewart encourages listeners to catch live performances and engage with the vibrant community that supports such innovative cultural endeavors.

Transcript

[Alison Stewart]

All of it is supported by Progressive Insurance.

[Listener]

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[Jade Milan]

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[Alison Stewart]

Not available in all states.

[WNYC Studios]

Listener supported WNYC Studios.

[Alison Stewart]

This is all of it on wnyc. I'm Alison Stewart. We are live in the green space in Soho with a special edition of all of it for you today. For the next hour, we'll be joined by the cast and creative team of Broadway's Hell's Kitchen, the musical inspired by Alicia Keys growing up here in New York City, which opened on Broadway one year ago this month. Happy anniversary. Today we're gonna hear from some amazing performers. Jade Millan, who plays the lead, Ally is here. Jessica Vosk, who plays Ally's mom, Jersey R and B hitmaker Tank, who plays Ally's dad, Davis. And the Tony award winner for her role, Ally's mentor, Keisha Lewish will join us as well. And because a Broadway musical can't happen without its creative team, hanging out with us throughout the hour will be the pros behind the show. Adam Blackstone is the music supervisor for Hell's Kitchen. Hey, I heard that. He'll be here as a prolific songwriter and producer. He's also playing bass today. And we also have Hell's Kitchen musical consultant Tom Kitt, whose Broadway credits are too many to count, including Jagged Little pill, American at 8 next to normal, which won him a Pulitzer. We have our audience in studio today. If you would like to see it live, you're listening on the radio. Go to wnyc.org to watch the live stream. That is all ahead. But now to kick things off with some music, here is the star of Broadway's Hell's Kitchen, Jade Millan with a performance of the River. Live in the green space.

[Jessica Vosk]

I'm alone in a corner of a one room apartment Dirty windows let the light in.

[Tank]

Through my fingers and make patterns on.

[Jessica Vosk]

The carpet Heavy footsteps on the ceiling and the sirens in the distance Drown the sound of playing children I am alone here in a crowd of 7 million I know there's more more to life than this cause something's calling me so I follow the river so I follow the river and I'm gonna catch the wind Cause I'm dying to begin Follow the the R There's a heartbeat out on these streets It's a bonfire that satellite inside me there's no army that can Stop me? Watch how strong I'm gonna be? When they said I couldn't be? I know there's more? Cause something's calling me? So I'll follow the river? So I'll follow the river? And I'm gonna catch the wind? Cause I'm dying to begin? Follow the. Follow the river? I know there's more to life than this? Cause something's calling me. Yeah. So beautiful.

[Alison Stewart]

That was Jade Milan, star of Broadway's Hell's Kitchen. We're live in the green space with Jade. We're going to bring up musical consultant Adam Blackstone and Tom Kitt. All right.

[Jade Milan]

How are you?

[Alison Stewart]

I'm good. I'm good. Let's get our little situation around here.

[Adam Blackstone]

Give it up for Jade Milan One more time, y'all.

[Alison Stewart]

Adam, we just heard the song the river that was written specifically for the show. When and why and how did you decide that certain songs like the river needed to be written specifically for Hell's Kitchen?

[Adam Blackstone]

I think that our incredible boss, Alicia Keys, composer, lyricist, producer, she has been working on this project. I don't know how many who know this, but for about 12 years now. I was brought in nine years ago, and she said to me, I'm gonna make my music into a play. And I said, what? Because we have. I see we have all ages, all races in here. She has some of our favorite songs that we just listen to on the radio. We put the CD on, we go to our Spotify playlist, whatever the playlist may be, and just listen. But when you think about a song like the river, you think about some of the songs that we're going to sing today. If I ain't got you, we think about no one. We think about Girl on Fire. When you see our show, you think about it from a different perspective. You're not thinking about it from the musician side. You actually. She actually had foresight from 25 years ago to tell a story through her music that is still very relevant. So a song like the river, which was in her. Her stash, I would say, really speaks about. Really speaks about. It might not be one of the most popular songs of hers, but it was in her writing stash, and she brought it out specifically for the show because it speaks about her dreams and aspirations that she was feeling as a young woman growing up in New York City, where she feels like the chaos of the city did not cloud her judgment on the. The entirety of the genius that she had in her. And sometimes we just need that one inspirational thing to look out the window to look for God to inspire us, for there to be a higher calling and for this. And at that time in her life. And now for Allie, it was the Hudson River.

[Alison Stewart]

When you were thinking about putting that in the show, Tom, where were you thinking it should go? How did you think it should be perform within the show? You were the music supervisor.

Well, I think that what's so wonderful about it is it does what you want, that kind of song in a musical to do. It happens early on in the show, usually in the second slot in the show, which is when it occurs. And it's what we often call an I want song for a musical, where the protagonist declares in beautiful tones, as you just heard, their dreams, their wishes, their hopes, their aspirations. And it's amazing to hear Adam talk about that. It was a song that had been brewing, been in Alicia's repertoire to come out for the perfect moment. And it was already a part of the show when I came on tell's kitchen in 2023. And I was so struck by how perfectly it works as a musical theater song.

And that's why does it work as an I want song?

[Adam Blackstone]

Because also, I have to say, Tom Kitt can turn anything into a I want song. He's the best in the world. So go ahead.

[Alison Stewart]

That's huge praise coming from Adam Blackstone. I just want to let that sit for a second. But lyrically, it does. It expresses a want, a desire, a need to get to a certain place. Musicals, we track someone's journey from that moment to the end and see if those dreams are attained. And then, of course, musically, it allows for the beautiful voice, for notes that mean something, for soaring melodies, so that the listener can get inside of those dreams and root for the character, the course of the show.

What does the river mean to you when you sing it every night?

[Tank]

I think, for me, I think it's a reminder of the tagline of our show, remember where dreams begin. And for me, playing the character, it reminds me of what. What Ali's desire is like, what. What it's rooted out of. She understands that there is something that is, like Adam said, there's something greater on the inside of her that's calling her, that's beckoning her to rise to a level that she's never known before. And I think that that is. It's a perfect reminder because it is the second song of the show. It's a perfect reminder for me as Ali, because it reminds me to dig deeper and to go after the dimensions that are calling Ali within the story itself. And so for me, it's just a reminder to stay true to the stakes. You know, does that make sense? The stakes are high and she is. She's set on going after what's calling her. And so I think for me, it sets my eyes on the bigger thing that's calling Ally and to chase that and to inform all of my choices and decisions as an actor with my scene partners to settle that in the foundation of we're going after the bigger thing. What is the bigger thing? What is the thing that's calling you? What's inside of you? Go after that. And so for me, that's my reminder.

[Alison Stewart]

It's a good reminder for you because you just became Ali at the beginning of this month after understanding his role.

[Adam Blackstone]

And if you haven't seen Jade Milan on Broadway at the Shubert Theater, please go see that. It is otherworldly. Her voice and her acting are just, you know, carry us to an emotional place every night. So please go support this young woman.

[Alison Stewart]

How is your. Yes. How has your routine changed since becoming Ally?

[Tank]

It's been a whole new world. I think we were just talking about it in the back little bit. It has required a new level of vocal discipline, of intentionality in my day because as an understudy, there's. There's a level of uncertainty because you never know when you're going to go on unless you have scheduled shows like I did every other week. But when you know that you are going on every single night, there is. There's a different level again. I can, I can't say it too much. Intentionality. Intentionality in what you eat, the way that you're talking, the times that you eat, the times that you talk. You know what I mean? There is, it is literally. And I'm. And I say this all the time. I'm in a student seat. No matter where I am, I try to stay in a student seat. So I am letting the role tell me what I need. And just. And that's on a day to day basis because the voice changes from day to day. And so I just try to go with whatever my voice says it needs that day. And if I need a little extra sleep, then we're pressing snooze and we just try to work with whatever the requirement is for that day.

[Alison Stewart]

Tom or Adam, what happens when you bring a new actor into the role? Go for it, Tom.

The most thrilling thing about this art form is that, is that musicals, they live in the world and you get to see great artists come to material and how it Lives in someone else's artistry. I think that's the greatest, one of the greatest things that we get to experience as creators, to see all of the ways that our work can speak to different artists.

[Adam Blackstone]

I'm scared every time.

[Alison Stewart]

For real?

[Adam Blackstone]

Yeah. This is my baby. You know, it's kind of like. It's like getting a new nanny. It's like, you know, you kind of want to stay with the nanny for a week, but you have to, you know, relinquish those moments and trust yourself with who we. We have chosen. It's a great nanny analogy as well. So gotta trust yourself. And then the team around us, I must say, the Hell's Kitchen, entire team, not just Tom, not just Mandy and Aaron and the Schubert Theater, but everybody believes in Jade. Everybody believes in my boy Tank. Everybody believes in Jess and the amazing Keisha Lewis. It's like when we pick a new person, it's because they have what it takes to fulfill that role. And so, you know, I've been seeing Alice almost for a decade, and I never think that it can get better. And each show I go to, I'm just amazed by the connectivity of the music to the character to the actor or actresses. It's really, really good.

[Alison Stewart]

We'll have more with the team from Hell's Kitchen. This is all of it. Live from the green space. Stay with us. This is all of it. I'm Alison Stewart. Ooh, that was a bass. Yes, it was. We are live in the green space at WNYC with the cast and creative team from Hell's Kitchen. This is a listening party live. You're listening to us on the radio. Jump on a computer and head to wnyc.org to watch a live stream on stage. With me, we have actress Jessica Vosk. You know her as Elphaba. You know her as waitress. She plays Ally's overprotective mom in Hell's Kitchen Jersey. Give it up. And also with us, R and B singer and actor Tank, who plays Ally's dad in the show Davis. Nice to see you. Let's get to some more music. Here's Jessica Voss and Tank with Fallen by Alicia Keys from Hell's Kitchen.

[WNYC Studios]

I keep on falling in endowment of love with you Sometimes I love you Sometimes you make me blue Sometimes I.

[Jessica Vosk]

Feel good.

[WNYC Studios]

At times I feel used Loving you, darling makes me so confused I keep on falling in and out of love with you I never love someone the way that I love you Never felt this way how do you give me so much pleasure and cost me so Much pain just when I.

[Jessica Vosk]

Feel Just when taking more than what.

[WNYC Studios]

A fool.

[Jessica Vosk]

I stop falling back in.

[WNYC Studios]

Love with you I keep on falling in and out of love with you I never love someone to wait and I love you I'm falling in and out of love with you I never lost one the way that I love.

[Jessica Vosk]

I keep on falling in and out of love with you I never lost one the way that I love you I'm falling in and out of love with you I never lost one the way that I love you.

[Alison Stewart]

That was Jessica Boss and Tank of Broadway shows Hell's Kitchen with Fallen. We are here in the green space with a remix. Adam Blackstone and Tom Kidd are also with me. Jessica.

[Listener]

Ma'am. Yes, ma'am.

[Alison Stewart]

Why did you want to take on the role of Jersey?

[Listener]

Oh, gosh. I mean, number one. And I remember having this conversation when I had the chance to meet Alicia. I had said to her, same thing that Adam just said. I had asked her if she wrote her catalog with Broadway in mind. Because when you growing up, right. I'm in my 40s, and you look good, Jersey girl. Adam. Adam. Oh, my God. So when I grew up, it was like MTV was videos, right? And when Alicia would put a video out, boy, could she tell a story with a video. I mean, remember when, you don't know my name came out and the diner and. I'll never forget that video, right? And I walked in, and when we met and had a little, you know, meeting and got to sing together, I'd asked her that question. When you wrote these songs, did you know it would wind up in a musical? And she said, no, but what a great storyteller. So that's number one. Number two, it's real fun to sing. You don't. I call this the most un. Broadway. Broadway show, right? It's popular. It's R B. You get to really flex those muscles. You're not doing what I like to call the jazz hands, right? I'm used to. I'm used to Elphaba. I'm used to being able to, like, belt and. And straight tone in a Broadway way. This is fun to do because it gets you to flex a different muscle, and then you really do get a lot of creative liberty from. From these creatives, which is also not a typical Broadway thing. So that's number two and then number three. You know, while I'm not a mom, I believe I get a lot of what I bring to Jersey from my own mom, who's tough. But I also think that moms are Many things at once. They're extremely nuanced. They're tough. They might want to kill their kid, but they'll also land traffic for them. And they're full of love and heart and vulnerability, but they'll also redo the riot act if need be. So it's a very, very amazing role to. To take on and play, because there's a lot. A lot to have fun with in the sandbox.

[Alison Stewart]

Tank. It's your Broadway debut.

[Jessica Vosk]

That's right.

[Alison Stewart]

Why did you want to join the Broadway community?

[WNYC Studios]

What's crazy is that I didn't. You know what I mean? It wasn't on my bingo card at all. And, you know, Alicia Keys and Adam called and said, hey, man, we got this thing that we want you to be a part of. And, you know, just out of respect for the name, you show up when you see Alicia Keys, whatever it is, you just pull up and you ask questions later. And I said, okay, I'll come. I'll see what all of this is about. And I said, well, let me see it first to see what I'm walking into. And I went and watched a play the day before my audition, and I fell in love, and I said, if I'm going to do Broadway, this is what I'm gonna do. I'm gonna do this thing right here. And, you know, being part of this has completely changed my perception and perspective in terms of what Broadway really is. You know, I think they were. They were hating just a little bit to keep me out of here, you know what I'm saying? Oh, you don't wanna do Broadway, Tank. It ain't for you. This is for me, man. Yeah, this is for me.

[Alison Stewart]

Tom, that song is so different than how any of us ever heard it. We love it, but it's just so different. What? Making faces. Why are you. Why is he making faces?

[WNYC Studios]

What?

[Alison Stewart]

Because I. Yes. And I agree. I'm throwing. Because what Adam and Alicia made, reinventing it as a jazz waltz that then I got to come in and get to orchestrate with Adam. Every time I hear it, it's so satisfying and so gives you what you love and what you know, and then takes you on this whole other journey, which is.

[Adam Blackstone]

So as we were looking for orchestrators, I don't know why we were. Because Tom Kidd is the best. I'm gonna keep saying that. I had to, like, prep him. Each time I was about to play a song, I was like, okay, so this is what I did to this song. And I'm like, okay, here's what I did to this ballad, you know what I mean? And so I think that it's crazy, the through line about Tank now being on Broadway about this song falling. Alicia always was very vocal about that Davis character almost being a crooner, R B Sammy Davis meets, meets Marvin type of, you know, crooning. Not only vocalists, but father figure as well. Right. And so as we go to these star calls, as in these roundtables, you know, for those who don't know, Tank is R B royalty. And so, you know, I put him up there with Boyz II Men, I put him up there with Babyface, I put him up there with John Legend. And so those are the names that were coming out. And I put him up there. And as soon as I said it, Alicia's face lit up. You know, Instagram is the new resume. So we go in there, you know, it's this handsome guy, he's still singing, he's in shape. And then we heard him sing. I think you sang on R B Money podcast, like a Babyface song, Whip Face or something. And it was like, like, that's who we need. And so I'm so thankful that he came through. I'm so thankful that these songs are able to be flipped enough to even resonate to a modern day artist. And then the viewer, the viewing audience as well. When you think you're about to hear Fallen, your favorite song from Alicia Keys, it tells a whole nother story with mother and father.

[Listener]

So it's the one I hear about the most fans in my inbox is. Is wow. Number one, the chorus, they sped it up. Oh my gosh. It's this fantastic jazz waltz. And also, just that scene itself speaks to Adam, saying it's so different because it's what most people at least slide into my DMs with after every show.

[Alison Stewart]

I kind of have a dumb question I'm gonna ask you, Tom. When you said you had to orchestrate it, what does that mean?

So orchestration is basically in Broadway, writing all of the instrumental parts out. And some orchestrations on Broadway are small chamber ensembles. Some in days past, we had 30, 40 piece orchestrations. I wish I could have a 30 piece orchestration someday. And so for Hell's Kitchen, we built it with the rhythm section. And then when we went to Broadway, we expanded the orchestration to include strings and horns, which was really exciting. One of my favorite things about this orchestration is, as you've heard, Adam Blackstone is a virtuoso, one of the most incredible instrumentalists I've ever Heard and been around. And I had the great pleasure of transcribing Adam's original bass part into the ink, as we call it. So just getting to listen to how he plays the bass and all of the tonalities that he finds is a masterclass of itself.

[Adam Blackstone]

Can y'all tell we love each other, right?

[Jade Milan]

Nice.

[Adam Blackstone]

Thank you, Tom.

[Alison Stewart]

One of the things I think is so interesting about you, Jessica, is you used to work on Wall street for people who didn't know.

[Listener]

Sure did.

[Alison Stewart]

I just found this out too. I didn't know this either.

[Listener]

Yes. Yes, I did. Yes.

[Alison Stewart]

What was the moment? You were like, that's it.

[Listener]

You know, I. I was telling Tom this earlier. I didn't go to school for theater. I sang as a kid growing up. I'm. I'm a, you know, big sight reader. Loved choir, you know, love blending, love tone, love harmony, and. And I became obsessed with it. But I wanted to make my parents proud. So when I graduated school, it was with investor relations, and I worked in New York for three years in Wall street capacity. And. And I sort of. I didn't listen to any music. I didn't sing anything. I didn't see any shows. I sort of kept it all down because I think there's a part of our subconscious when we. When we aren't doing what we love. I know I like to shut that piece off. Right. It's sort of like if I don't see it, it doesn't exist. And that manifested in anxiety and stress. And one day I decided to take a leap of faith. It helped that the market crashed, and. No, wait, we'll talk about that later. But I took a leap of faith, and I left that job without a safety net. And I just sort of pounded the pavement for a while until I got hurt. I'd show up at jazz clubs, I'd go sing and put my name on a list and hope they would see me by 2am and go back to work again. And finally, you know, things started to happen. So I've been in this business for only 10 years, and. And it's been a wild, wild ride. But to get to be here doing this. I keep reminding myself, you know, how lucky I am, because I know what it was like to not do something that I love.

[Alison Stewart]

We're gonna bring Jade on stage. Jade and Jessa are gonna switch places, and I'm gonna give this one to Tank while we get settled. Tank, we're about to hear. There you go. There you go. If I ain't got you, could you set this up for us where we hear this in the show.

[WNYC Studios]

Oh, yeah. This is a great moment in the show. So I've just come from Jersey Girl's house, who is my ex girlfriend, who I. Who I have Jade with. And I was trying to. I was being there for her because she needed me. Cause Jay was getting wild, all right? Allie was getting wild. And so she was like, hey, come help me with our daughter. And I show up, and in this space where you just see the song we just sang, I'm kind of, you know, I'm kind of seducing a little bit. I'm the shoulder to cry on. But, you know, I also remember how we used to. Amen. So, you know, in me trying to get that back. Now I make this turn the next scene and go see my daughter, who's downstairs in what we call the Ellington room, playing the piano. And I sneak in on her because she doesn't know that I'm there. And I start playing the piano. And then we have this moment in song where it feels like we're getting ready to really, really reconnect. And that's all I'm gonna tell you. Cause if you haven't seen this show, you have.

[Listener]

This is.

[WNYC Studios]

This is a great, great part of the show where you might not like me so much. You know what I'm saying? You might not. You might not be feeling the play after that, but I want you to see it.

[Alison Stewart]

Here's Tank and Jade Malong with if I Ain't got you. We're live in the green space with the team from Hell's Kitchen.

[WNYC Studios]

Oh, you played it so good. You played so good.

[Jessica Vosk]

Yes, you do.

[WNYC Studios]

Some people live for the fortune Some people live just for the fame Some people live for the power yeah Some people live just to play the game Some people think that the physical things defy Was within and I've been there before but that light so full of the superficial Some people want it all But I don't want nothing at all if it ain't you, baby if I got you, baby Some people want diamond rings Some just want everything Everything means nothing if I ain't got you Is it coming back to you? Not even a little bit.

[Tank]

Not even a little bit.

[WNYC Studios]

Whatever. I'mma keep going. Watch this. Some. Some people search for they looking for.

[Tank]

Something Is it fountain?

[WNYC Studios]

Fountain. I knew she knew the song. You know what I'm saying? Promises forever.

[Tank]

Oh, my God.

[Jessica Vosk]

Young, young, young. Some people need three dozen ro.

[WNYC Studios]

But that's the only way to prove you love them Too late. I heard you, you might as well.

[Jessica Vosk]

Come on, Hand me the world on a silver platter and what good would it be? And no one to share no other true weakest for me.

[WNYC Studios]

Some people want.

[Jessica Vosk]

It all I don't want nothing at.

[WNYC Studios]

All fitting to bab I got you, baby Some people want Tatters will never reveal Everything means nothing if I ain't.

[Jessica Vosk]

Got you, you Some people want it all But I want nothing at all if it ain't you, babe if I got you, baby Some people want memories Some come whatever we dream but everything is not Ain't nothing I ain't got you if I got you, baby it's my favorite, Harry. See, nothing in this whole world don't mean no fame if I ain't got you with me, baby hey.

[Alison Stewart]

Jade Milan from Broadway's Hell's Kitchen. If I ain't got you. We'll be right back with more music from Keisha Lewis, live from the green space. This is all of it on wnyc. I'm Alison Stewart. I'm in the green space at WNYC with the cast and the creative team from Hell's Kitchen. This is a special live listening party. If you're listening on the radio, you can watch by going to wnyc.org I am joined now for the final performance, Tony winner Keisha Lewis. Keisha plays Ally's mentor, Ms. Liza Jane. The role earned her a Tony for Beth featured actress last year. She's also received an outer critics circle award, Lucille Lortel award and Obie award for this performance. Please welcome Keisha Lewis.

[Jade Milan]

Here we go. Simple walk to the corner store Mama never thought she would be getting a call from the corrinor said her son's been gunned down Been gunned down can you come now? Tears in her eyes can you calm down please? Ma'am, can you calm down? It rain fire in the city that day they say A river of blood in the streets no love in the streets but then came silence from the city that day they say just another one go. And the city moved on she stuck there singing Baby, don't you close your eyes Cause this could be our final time and you know I'm horrible saying goodbye When I think of all you could have done at least you'll stay forever young I guess you pick the perfect way to die oh, I guess you picked the perfect way to die New job, new city, new her new bright eyed you would have been proud if you knew her Flashing lights in the mirror Pull over, pull over. Couple nights in detention and it's over. A whole life's over they came marching in the city that day, they say Carrying signs in the streets Crying eyes in the streets but they heard nothing from the city that day, they say Just another one gone and the city.

[Jessica Vosk]

Moved on we're stuck here singing Baby, don't you close your eyes?

[Jade Milan]

Cause this could be our final time? And you know I'm horrible at saying goodbye When I think of all you.

[Jessica Vosk]

Could have done at least you'll stay forever young?

[Jade Milan]

I guess you'll pick the perfect way to die? Oh, I guess you pick the perfect way to die? Another dream lost Another king and queen lost Another broken promise they revealed to make right Another night to live in fear Another night that you're not here Another reason to get out there and.

[Jessica Vosk]

Fight.

[Jade Milan]

I say, baby, don't you close your eyes? Cause this could be our final time? And you know I'm horrible Now let's say goodbye When I think of all you could have done? At least you'll stay forever young? I guess you picked the perfect way to die Oh, I guess you picked the path.

[Alison Stewart]

That was Keisha Lewis from Broadway's Hell's Kitchen. This is part of our special live broadcast from the green space. Not only are you a tremendous and you can see what a tremendous actor you are in that song. Where do you pull from the emotion for that song?

[Jade Milan]

It's actually kind of easy, unfortunately, because of the world that we live in right now. And my son and I, I was a single parent from the time he was 8 years old. And so raising a black boy in New York is terrifying. And all I have to do is remember what it was like. He's 21 now, but literally I tease him and say, I have knees like a camel. The way I prayed for you. They are wrinkled and crusty because of all the prayer. And that's real, you know, your child, a young black boy, walks out of the house to go to school.

[Alison Stewart]

I have a 10 year old at home.

[Jade Milan]

You don't know if they're going to come back. Okay, so you pray a lot and you teach them how to be in this world so that they do come home, that he does not have the privilege of having anger at authority figures. If they're treating him unfairly, he doesn't have that privilege. So that is where it pulls from. And everything that goes on in the world. I see all the faces when I do the show. Sometimes I pick one, Sometimes I see them all, from Sandra Bland to Eric Garner to Trayvon Martin. And the list goes on.

[Alison Stewart]

You are the original member of the original team of Hell's Kitchen that's here today?

[Jade Milan]

Kind of. Sorta.

[Alison Stewart]

Yeah, sorta. How did you first get involved with Hell's Kitchen?

[Jade Milan]

So I've known our director, Michael Greif for over 30 years.

[Alison Stewart]

He's a wonderful director.

[Jade Milan]

Wonderful director. And Michael sent me an email and said, I'm working on something and I think there's a role for you here and I'd love you. And at this time, we were not even back in person yet from COVID So he said, we're going to do a little reading online and I'd love for you to join. He said, I'll send you the script, see what you think. I thought, oh, this is a great part. I'd love to read it. And we were online, so we did that and it went well. And then he reached out again maybe about two, three months later and said, we're going to do another reading. But what you need to know is that this is loosely based on Alicia Keys. So Alicia will be on the Zoom. Say what now? And thankfully, she had her. Her screen blacked out so we wouldn't freak out. But it felt like that was the audition process. She needed to hear me. And then I've been in theater industry for over 40 years now, and she is not from that world. So then Michael called me and he said, so this may sound a little insulting, but Alicia doesn't know you, so we need you to sing and just make a video of yourself singing. Perfect way to die. So because it was easy to pull from what I needed to sing, it was a one take and I got the job.

[Alison Stewart]

What's been special or interesting to you about seeing this show evolve from being down at the public to being on Broadway?

[Jade Milan]

You know, the theater process, I've been in it for so long and I've done a lot of things over the years, and every process is a little different. And so this one, this was the first one for me that because we had the cachet of Alicia Keys, it was a little different just in terms of the excitement. You know, usually there's a little bit of, oh, God, is it gonna go? Oh, God, is it gonna work? Oh, God, am I gonna have a job tomorrow? But this one didn't feel like that. So there was always this kind of freedom and creativity. And like Jess, you know, said so eloquently, we have freedom in this show. That's not like every Broadway show. This is the first Broadway show. This is 11 for me. And this is the First Broadway show where I've had vocal freedom, where I could say, can I try this? Can I try that? And Alicia's generosity, you know, she's a brand. She could just say, do what I did, because it worked. You know what I mean? But she doesn't do that. She says, let me hear what you got. Oh, let's try this. Let's play with that. Oh, what you did was perfect right there. Keep that. And so the process and that being celebrated off Broadway and on Broadway, it's been tremendous. It's been tremendous.

[Alison Stewart]

Did you have someone like Ms. Liza Jane in your life?

[Jade Milan]

I had several.

[Alison Stewart]

Yeah.

[Jade Milan]

I had several. I'm gonna try not to get Missy. I'm a crier. I've had several Ms. Liza Janes in my life. There were some Mr. Liza Janes in my life, and I have all their pictures on my phone, one right behind the other. And when I need to look at them and remind myself, all these teachers, all these family members that poured into me when I was a knucklehead kid and knew that I had something special but not quite sure what it was or how to handle it, those people helped guide me and mold me and shape me. And so I have several. And it's a privilege to play this role to. To pay tribute to all of our Ms. Liza Janes. All of us have a mentor or three or five or seven.

[Alison Stewart]

Keisha Lewis, thank you so much. All right, we're gonna go out on one more song. We're gonna bring Jade and Jessica back on stage from Hell's Kitchen. They are going to perform. No. 1. This is Jessica Voss and Jade Mil.

[Jessica Vosk]

I just want you close? Where you can stand me forever? You can be sure that it will only get better? You and me together through the days and nights? I don't worry? Cause everything's going to be all right? The people keep talking? They can say what they like? But all I know is Everything's going to be all right? No one, no one, no one? Can get in the way of what I'm feeling? No one, no one, no one.

[WNYC Studios]

Get.

[Jessica Vosk]

In the way of what I feel? You, you can get in the way of what I feel? When the rain is pouring down? And my heart is holy? You will always be around? But this I know for certain? You and me together? Through the days and nights? I don't worry? Cause everything's gonna be all right? And people keep talking? They can say what they like? But all I know is everything's going to be all right? No one, no one, no one can get in the way of what I'm feeling No one, no one, no one can get in the way of what I feel? I know some people the world to find something like what we have? I know the people will try Try to divide something so real so till the end of time I'm telling you there ain't no one? No one, no one can get in the way of what I'm feeling no one, no you get in the way of what I do for you? For you.

[Alison Stewart]

Hell's Kitchen, everybody. Live from the green space, our huge thanks to Jessica Voss, Tank Geisha Lewis, Adam Blackstone, Jade Milan. We appreciate you all coming out to join us. Thanks so much. Thank you, guys.

[Jade Milan]

Since WNYC's first broadcast in 1924, we've been dedicated to creating the kind of.

[Alison Stewart]

Content we know the world needs.

In addition to this award winning reporting, your sponsorship also supports inspiring storytelling and.

[Listener]

Extraordinary music that is free and accessible to all.

[Jade Milan]

To get in touch and find out more, visit sponsorship.wnyc.org.