Tony Nominee: 'Hell's Kitchen,' Inspired By Alicia Keys

Summary

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Podcast Summary: All Of It — Tony Nominee: 'Hell's Kitchen,' Inspired By Alicia Keys

Podcast: All Of It (WNYC)
Host: Kusha Navadar (in for Alison Stewart)
Episode Date: June 14, 2024

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Main Theme and Purpose

This episode celebrates the 2024 Tony-nominated musical Hell's Kitchen, inspired by Alicia Keys’ life and music. The discussion features playwright Christopher Diaz, director Michael Greif, and music supervisor/longtime Alicia Keys collaborator Adam Blackstone. Through reflections and anecdotes, they explore creating a musical that weaves Keys' discography (and new compositions) into a coming-of-age story set in New York City. Beyond theater mechanics, the episode focuses on mentorship, culture, representation, and the universal resonance of music and community.

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Key Discussion Points & Insights

1. Origin & Development of 'Hell's Kitchen' (02:48)

• Adam Blackstone shares the “first sessions” with Alicia Keys, diving into her entire catalog to understand the stories and emotions behind each song.
  • “Let’s just sit down, get the catalog together. How do we intertwine this story with making the story all align?” (Adam Blackstone, 02:48)
• Blackstone’s role: Balancing songs loved by fans but omitting some from the final production, while advocating for their inclusion.

2. Directorial Firsts and Collaboration (04:21)

• Michael Greif highlights working with choreographer Camille Brown as a “remarkable” and uniquely energizing part of this production:
  • “The physical vocabulary of the piece is so explosive and so joyous…and I haven’t done that in a very long time.” (Michael Greif, 04:38)
• Emphasizes storytelling through dance and the collaborative spirit, calling attention to Brown’s smart, story-driven choreography.

3. Creative Adaptation of Alicia Keys' Songs (05:30)

• Discussion centers around the inventive use of Alicia Keys’ “Teenage Love Affair,” performed by Shoshana Bean (playing Ally's mother).
• Michael Greif explains Chris Diaz’s idea to have the mother sing the song about her own first love, paralleling her daughter’s experience:
  • “Some feelings you have at 17, which feel like they're gonna last forever, don't last forever.” (Michael Greif, 05:53)
• The song is “encased within another song,” layering meaning and context in unexpected ways (Christopher Diaz, 08:00):
  • “One of the real fun challenges…figuring out how do you use songs in unexpected ways, how do you put them in conversation with each other…” (Christopher Diaz, 08:00)

4. Casting and Nurturing New Talent (08:38)

• The discovery of Malia Joy Moon (Ali) is recounted: She stood out among a talented group, impressing in every discipline.
  • “She walks in the room and she's got a presence…Then she starts to sing…God, I hope she can act. And every time you set something else up, she did it.” (Christopher Diaz, 09:30)
• Michael Greif describes his approach to directing a newcomer:
  • “It's about giving that person a whole lot of confidence, letting that person know that their instincts are the most important thing.” (Michael Greif, 09:51)
• Alicia Keys is praised for nurturing young talent and fostering trust.

5. Character Depth and Representation (11:32)

• Examination of “Nuck” (Chris Lee) as a character who challenges stereotypes about Black masculinity:
  • “We always wanted to write characters that were unexpected and multidimensional. …especially living in New York City, it was all about being tough and a gangster…I know so many people who give that impression…or just were judged as such. So we…wanted to really play against type.” (Christopher Diaz, 11:48–12:39)
• Chris Lee, who plays Nuck, brings “vulnerable sensitivity,” and his own experiences inform the role.

6. Mentorship: Ms. Eliza Jane & Real-Life Inspiration (13:23)

• The character Ms. Eliza Jane (a mentor pianist) reflects a tradition of guiding figures, especially within Black communities.

• Adam Blackstone credits his father and family women for instilling confidence:

  • “You represent our name, but also you represent yourself when you step out into the world. …I already had a sense of greatness.” (Adam Blackstone, 13:39)

• Michael Greif and Christopher Diaz also acknowledge family members, especially mothers and grandmothers, as foundational mentors.

  • “…this is a love song to Alicia’s mom in many, many ways.” (Christopher Diaz, 16:06)

7. The Musical as a Love Letter to New York & Family

• The show is described as not just Keys’ story but a homage to New York and the powerful, nurturing relationships that shape lives.

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Notable Quotes & Memorable Moments

• Adam Blackstone on the process with Alicia Keys:
  “These songs have helped impact pop culture for the last 20 odd years… How do we intertwine this story with making the story all align?” (Adam Blackstone, 02:48)

• Michael Greif on vibrant collaboration:
  “The physical vocabulary of the piece is so explosive and so joyous…” (Michael Greif, 04:38)

• Christopher Diaz on song integration and character models:
  “We have models, musical models. So TLC is 100%… SWV are definitely the Ally models.” (Christopher Diaz, 08:00)

• On nurturing newcomers:
  “It's about giving that person a whole lot of confidence, letting that person know that their instincts are the most important thing.”
  (Michael Greif, 09:51)

• On multidimensional Black characters:
  “We wanted to really play against type as many ways as possible, especially when he's…singing those songs, those beautiful, beautiful, soft, sensitive love songs.”
  (Christopher Diaz, 12:39)

• Mentorship and family legacy:
  “I already had a sense of greatness. I already had a sense instilled in me of integrity, of humility…”
  (Adam Blackstone, 13:39)

• A love letter to mothers:
  “This is a love song to Alicia’s mom in many, many ways…there’s a lot of love and joy and gratitude baked in.” (Christopher Diaz, 16:06)

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Timestamps for Important Segments

• 02:48 — Adam Blackstone describes curation of Alicia Keys' catalog for storytelling
• 04:38 — Michael Greif on choreographer Camille Brown and the explosive energy of dance in the show
• 05:53 — Michael Greif sets up “Teenage Love Affair” as sung by Ally’s mother
• 08:00 — Christopher Diaz on song integration and musical inspiration for characters
• 09:30 — Discovering Malia Joy Moon and nurturing her debut
• 11:48 — Christopher Diaz on writing complex, stereotype-defying characters
• 13:39 — Panelists reflect on real-life mentors who inspired their artistic paths
• 16:06 — Christopher Diaz on honoring parental influence and legacy

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Overall Tone and Takeaway

The discussion is open, affectionate, and celebratory, with each guest sharing personal connections to Hell’s Kitchen’s themes—mentorship, authenticity, and disrupting expectations. The hosts and creators maintain a thoughtful, conversational tone that blends warmth, humor, and sincerity, mirroring the heart of the musical itself.

Hell’s Kitchen emerges as both a tribute to Alicia Keys’ roots and a universal tale of finding one’s place through art, love, and community.

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Transcript

[Nephew]

I' ma put you on, nephew.

[Alison Stewart]

All right, unc.

[McDonald's Employee]

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[Alison Stewart]

Listener support WNYC Studios.

[Kusha Navadar]

You're listening to all of it on wnyc. I'm Kusha Navadar in for Alison Stewart. Today to finish out our show celebrating some 2024 Tony nominees, we'll turn to Hell's Kitchen, which is showing now through next January at Broadway's Schubert Theater. The show is loosely inspired by the childhood of Alicia Keys and using Keys's discography as well as originals she composed specifically for the show. It tells the story of a biracial 17 year old girl, Ali, living in a Hell's Kitchen high rise. Her mother, who works nights to keep them afloat. Mom tells her to stay put when she leaves for work, but Ally has other ideas. She heads down to the corner to see her crush, and when mom finds out and the cops show up, things get bad. Allie finds refuge with a neighbor, a concert pianist, Ms. Eliza Jane, who becomes her stern but loving teacher, including some real life lessons. Back in November, when the show was still in previews, Allyson talked with Christopher Diaz, who wrote the show's book, director Michael Greif, music supervisor and longtime Alicia collaborator Adam Blackstone about Hell's Kitchen. And she started by asking Adam about the conversations he initially had about the show with Alicia Keys.

[Alison Stewart]

In the early stages, I remember she was very adamant about telling her story, telling a story through her music. And so the first thing that we did was sit down, get her whole catalog in front of us, sat on two pianos. I remember it like it was yesterday. And just said what? You know, what were you thinking when you wrote this song? What was the process? What was the storyline? Who was it about? How can we relate this to everyday life today and intertwine it with a story that can be told about New York City? And so those were the first sessions, just literally us going through catalog. And my guys can tell you there have been some songs that didn't make the cut for this show that I fight for every day still. And during our freeze, I'm like, let's put this song in, guys. And they're like, yeah, you're crazy, bro. But, you know, I feel that way because I'm a fan of her music. Not only of her music, not only just a collaborator with her, but these songs have helped impact pop culture for the last 20 odd years. So that was what we did first, was just, let's just sit down, get the catalog together. How do we intertwine this story with making the story all align?

[Interviewer]

Michael, you've drunk. Rhett dear Evan Hansen, next to Normal, one of my favorites. I think the last time you joined us was for Days of Wine and Roses not too long ago. What was something that you got to do as a director with this show that was new for you, even though, given you are a veteran, something new, something exciting.

[Michael Greif]

I think one of the most exciting parts of this whole process for me has been getting to work with Camille Brown, our choreographer. The physical vocabulary of the piece is so explosive and so joyous, and I haven't done that in a very long time. Gotten to work with an ensemble of dancers and really imagine how to tell a story through the vitality and energy of dance. And Camille is the most extraordinary collaborator. She's so smart about story and so smart about what point she wants to make through physical storytelling. And I just feel like, you know, I love Christopher Diaz and I love working with Christopher Diaz and Adam Blackstone, our entire musical team, and of course, Alicia. But it's really been really remarkable for me is a little bit of Camille Brown.

[Interviewer]

So we don't have full songs, but we managed to get a little bit of sound from you folks from the production. And I want to listen to the woman who's playing Ally's mother, Shoshana Bean, who's amazing. People have seen her On Broadway many times. And she sings the song Teenage Love Affair. But Michael, can you set this up in the show on how it uses Alicia's song in a surprising way?

[Michael Greif]

Yeah, this is really the brainchild of Chris Diaz here. I remember when Chris first showed me this sequence, and I was so excited about it. Mom is essentially that some things, some feelings you have at 17, which feel like they're gonna last forever, don't last forever. And she's really proving to her that what feels, what's right right now might not be right later, but the way she's doing it is by fully engaging in, like, the complete blush of her first big crush. Just like her daughter's having her first big crush. And so she gets to sing Teenage Love Affair and she gets sing it to her daughter, but she also gets to evoke her. Her daughter's dad, the man that she fell so fully in love with back when she was a kid.

[Interviewer]

Let's take a.

[McDonald's Employee]

It's a matter of extre.

[Interviewer]

So when did this idea come to you, Christopher?

[Christopher Diaz]

I was listening to this song on a beautiful spring day in my headphones. And the difference between listening to a song on your headphones and listening on a computer speaker is obviously so different. But there was something just about the day that was incredibly beautiful. And I was like, I've never heard this song this way before. And it was such an encapsulation of that moment of being in love for the first time and thinking at that point, we had already some ideas about what we wanted to do with the song and what we wanted to do with the show. And it was like, oh, yeah, this has to be in that moment. And it's not in the voice of Ally, who is this tough 90s influenced, hip hop influenced kind of girl.

[Interviewer]

The fourth member of TLC.

[Christopher Diaz]

The fourth member of TLC.

[Alison Stewart]

Very true.

[Christopher Diaz]

Oh, yeah. There's models for every single role in the show. We have have models, musical models. So TLC is 100% TLC. SWV are definitely the alley models. So we're figuring that out. And then the other thing that we knew we needed to do was go back in time a little bit. And not to spoiler alert, but that song is encased within another song, which we won't sort of talk about. But that was one of the real fun challenges of this, is figuring out how do you use songs in unexpected ways, how do you put them in conversation with each other, and how you take these songs that are solos, but we let lots of people sing them or people attack from A bunch of different directions.

[Interviewer]

Your ally is someone who is brand new to professional theater. Tell us how you found her. Tell us about her.

[Michael Greif]

The fantastic casting department at the Public Theater. This production, led by Heidi Griffith, got a whole lot of submissions, and we first saw Malia on a tape submission. I think they might have even found her on, you know, YouTube or Instagram. I don't really remember that sequence, but she was among a group of really talented young women who wanted to play this part. We saw some really great women, and yet Malia very clearly stood out at that pack. And then, and I remember both Adam and Alicia immediately, like, just pointing to Malia and saying, that's how we started. Immediately, Adam says, I mean, she walks.

[Christopher Diaz]

She walks in the room and she's got a presence. And it was like, oh, my God, I hope she can sing. And then she starts to sing and just like, yeah, she got that. God, I hope she can act. And every time you set something else up, she did it.

[Interviewer]

And her full name is Sweegiver. Malia Joy Moon. What is it like, what do you need to do as a director to help someone who is brand new? What's your job in that role?

[Michael Greif]

I love that job. It's about giving that person a whole lot of confidence, letting that person know that their instincts are the most important thing. Sometimes we've got to talk about how a moment can be interpreted this way or that way, but it's mostly me being open to what her instincts are telling her and really letting Malia follow through what she feels is the right thing to do. But Alicia is also spectacular working with young talent, which I think everyone in our company will tell you and what enormous impacts they've had. But just growing this piece together has really been a whole lot about trusting and about understanding that we can all be in different parts of the process at different times and recognizing all of the incredible gifts that each of us can bring to this.

[Interviewer]

Let's listen to a little bit of Malia Joy Moon with her co star Chris Lee, who plays Nuck. He's the young man she's got a big old crush on. He's a painter by day, plays the drums. The bucket drums on on the side with his friends. This is a clip of the two of them duetting to Alicia Keys. Unthinkable I'm ready This is from Hell's Kitchen.

[McDonald's Employee]

I was wondering maybe Could I make you my baby? If we do the unthinkable Would it make us look crazy? If you ask me I'm ready.

[Alison Stewart]

If.

[McDonald's Employee]

You ask me, I'm.

[Interviewer]

Nuck's an interesting character that you wrote.

[Chris Lee]

I appreciated him.

[Interviewer]

My son appreciated. I took my son to see, my 15 year old son to see. He's like, that's deep, that's dope. And I, I want to know what adjectives you would use to describe Nuck.

[Christopher Diaz]

What adjectives? You know, I think the, the, the fun thing that we always think about with Nuck is what adjectives people, other people would describe.

[Interviewer]

That's the point, right?

[Christopher Diaz]

Yeah. You know, so, so we always wanted to write characters that were unexpected and multidimensional. And so, you know, growing up in the 90s, listening to hip hop in that era, there was so much of a push towards being hard and being, especially living in New York City, it was all about being tough and a gangster. And I know so many people who give that impression or especially in the 90s, gave that impression off and either were trying to be that, trying to give it off, or just were judged as such. So we very early on were like somebody who looks like that, who can be that, who can present that and then be able to peel the layers away.

[Interviewer]

Cause he's a big guy, he's strong, he's dark skinned, he's got braids, he's.

[Christopher Diaz]

Hanging out outside of her building and the cops are around and the doorman is afraid. And part of what she's attracted to is that he's scary and sexy and have that reveal of like, no, I'm just a guy going through my life and I'm butting up against that. And Chris Lee, who plays Nuck, has been part of this production for a very long time. Very long time. And Chris brings that vulnerable sensitivity with him as a human every step of the way. He's a family man. He's so good with his kids. He's all this stuff. And you just know that some people have that perception of him. So we wanted to really play against type as many ways as possible, especially when he's gonna be getting up there and singing those songs, those beautiful, beautiful, soft, sensitive love songs.

[Interviewer]

There's a pianist in the piece, Ms. Eliza Jane. She is a black lady of a certain age, then has a certain countenance to her. We've all met in Ms. Eliz, and she really turns out to be an important person in Allie's life. Adam, did you have a Ms. Eliza Jane in your life?

[Alison Stewart]

I did. His name was Mr. Blackstone. My father was that strong figure for me, specifically on the piano. If we want to make it, you know, gender Specific, I would have to say my mother and my grandmother as well, and my aunties, who were all from church and did not play. I remember my Aunt Betty was one of the first ones to cultivate my talent. She was the choir director at our church, our family church, which we were local famous, which means on our street, everybody knew who we were. And it was because of the music, for sure. And then that spread out into the town of Trenton, New Jersey, and then the wings of New Jersey. My auntie was like, you're going to be great. It's no if, ands or buts about it. This is what we do. You represent our name, but also you represent yourself when you step out into the world. So for me, being a young African American man, being cultivated by these strong black figures, men and women, who told me I was great very, very early when I stepped out into, you know, I'm using air quotes, the real world. And I saw that that bubble that I was in was not necessarily what society was and what the world was. I already has had a sense of greatness. I already had a sense instilled in me of integrity, of humility as well. And it let me go on to do the things that I manifested. And I think that Ms. Liza Jane encourages Allie throughout this entire show to go and be great and do the same.

[Interviewer]

Michael, did you have a Ms. Liza Jane?

[Michael Greif]

I had a piano teacher named Mrs. Bacher, but she didn't loom very large in my life, I'm afraid.

[Interviewer]

Who was the person, though, who really encouraged you?

[Michael Greif]

Well, like Adam, you take a lot of love and support from your family, and my mother, my grandmother, my sisters, they were all very, very, very important to me becoming the person I am now.

[Interviewer]

Chris, how about you?

[Christopher Diaz]

Oh, man, there's a few, but I will say my parents as well. My mom was one who got me into theater and pushed me that way. My dad was not sort of into it, but my dad talked me out of going to business school and basically talked me into theater school because he. For lots of reasons, but he basically was like, I don't think you really care about theater, that business side of things. And we're not in a position that you have to, whatever, pull the family. We're trying to do that already, and we want you to go and make a name for yourself, or not make a name for yourself, but find the thing that brings you to happiness and brings you to success. I don't know where this enlightened conversation came from. Both of my parents at that point, and we're bringing them to opening night on Sunday. And so that moment of paying them back. And I think they've seen bits and pieces of the show, but I don't think they quite know all the things that are coming and how much of a, you know, as Michael said, this is a love song to Alicia's mom in many, many ways. And I think for all of us, it's whether that's the miss Liza Jane character or the parent character in our lives where, you know, there's a lot of love and joy and gratitude baked in.

[Kusha Navadar]

That was Alison Stewart's conversation with Hell's Kitchen playwright Christopher Diaz, director Michael Greif and music supervisor and longtime Alicia collaborator Adam Blackstone. The musical is nomin in 13 Tony categories. The awards are this coming Sunday at 8pm on CBS and Paramount Plus. And that's all of it for today. Thanks for spending part of your day with us. I hope you have a fantastic weekend and I'll see you back here on Monday. Till then.

[Michael Greif]

Bye.

[Nephew]

I'm gonna put you on, Nephew.

[Christopher Diaz]

All right, Unc.

[McDonald's Employee]

Welcome to McDonald's. Can I take your order, miss?

[Nephew]

I've been hitting up McDonald's for years. Now it's back. We need snack wrap. What's a snack wrap? It's the return of something great. Snack wrap is back.

[Chris Lee]

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