BroadwayRadio In Review: ‘Hell’s Kitchen’ National Tour at the Dr. Phillips Center in Orlando

Date: March 4, 2026
Host: Matt Tamanini

Overview of the Episode

This episode features Matt Tamanini’s in-depth review of the first national tour of Hell’s Kitchen, the Alicia Keys musical, as staged at Orlando’s Dr. Phillips Center for the Performing Arts. Tamanini, a seasoned attendee of multiple productions of this show, dissects the musical’s strengths—primarily its stellar music and cast performances—as well as its ongoing narrative and structural issues. The review shares pointed critiques of the story and production, highlights exceptional performances, and offers insight into what prospective audiences can expect.

Key Discussion Points & Insights

The Nature of the Musical

• Alicia Keys’ Music at the Forefront: The show features nearly two dozen songs by Alicia Keys, ensuring a compelling musical experience regardless of narrative issues.

  “Even if the packaging around such timeless songs as Fallen, If I Ain’t Got You, Girl on Fire, and No One leaves something to be desired, at least you know that the music will make the endeavor worthwhile.” (00:47)

• Not a Standard Biographical Musical:
  The plot follows 17-year-old Ally, whose life mirrors Alicia Keys’s biography, yet the show is officially fictionalized rather than a direct bio-musical.

  “What you see on stage is a duller, more confused, far less human story than what we would have gotten if they had simply opted to go the bio musical route.” (02:51)

Script and Tone Issues

• Conflicted Tone:
  The production struggles to reconcile gritty pre-Disneyfied NYC realities with flashy, pop-infused musical numbers, resulting in tonal confusion for both cast and audience:

  “This dichotomy always seems to leave the cast and in turn the audience unsure of how to approach the material...” (03:31)

• Successful Cast Adjustment:
  The touring cast leans more into musical comedy, allowing for a lighter, more enjoyable experience compared to previous, more sincere renditions.

  “They were able to play it far more like a traditional musical comedy, which allowed me to let go of many of my misgivings...” (04:09)

Performances and Standout Moments

• Marley Soleil’s Performance as Ally:
  Usually cast as Jessica, Soleil’s understudy performance as Ally is praised for warmth, vulnerability, humor, and vocal clarity.

  “[Marley Soleil] was warm, vulnerable, as I said, funny, and perhaps most importantly, sang the score with a crispness and clarity that let you see the depths of Ally’s heart.” (04:29)

• Mother-Daughter Core:
  The central relationship between Ally and her mother Jersey (Kennedy Coggle) is highlighted as one of the show’s true strengths, especially in conflict and reconciliation scenes.

  “These stories and relationships with Ally and Jersey and Ally and Ms. Liza Jane are what breathe the most life into Hell’s Kitchen.” (05:04)

• Notable Solo: Kennedy Coggle’s “Pawn at All”
  Coggle’s performance on the song is described as transcendent, likened to a “religious experience” (05:35).

• Roz White as Ms. Liza Jane:
  Noted for moving, inspiring work in Act Two, particularly during “Authors of Forever” (06:09).

Critical Narrative Issues

• Problematic Romance Subplot:
  The show spends a substantial part of the first act on a romance between 17-year-old Ally and an adult man, Nuck (John Avery Worrell), which Tamanini finds uncomfortable and inappropriate:

  “Seventeen-year-old Ally is infatuated with decidedly not 17-year-old Nuck...without ever telling him her actual age.” (06:22)

• Structural Disappointment:
  Despite strong music and performances, the show is criticized for a muddled plot, lazy direction (Michael Greif), and disjointed choreography (Camille A. Brown).

  “Hell’s Kitchen suffers from a muddled, needlessly sensational story, lazy, unfocused direction and Camille A. Brown’s disjointed and disconnected choreography that chaotically inserts ensemble members into songs where they just frankly do not need to be.” (07:12)

The Power of Keys’s Music

• Talent Overcomes the Script:
  The cast’s vocal talent and the power of Alicia Keys’s songs produce moving moments, even when the narrative falters.

  “It is ultimately a case study in missed opportunities and an Alicia Keys Musical should have you leaving the theater inspired by the power of art and music to help us navigate and understand life’s most difficult chapters...” (07:30)

Notable Quotes & Memorable Moments

• Comparison to Religious Experience

  "Her [Kennedy Coggle’s] rendition of that song [‘Pawn at All’] is as close as you will ever get to having a religious experience at a jukebox musical." — Matt Tamanini, (05:35)

• Candid Critique

  “What you see on stage is a duller, more confused, far less human story than what we would have gotten if they had simply opted to go the bio musical route instead.” — Matt Tamanini, (02:51)

• On the Show’s Lasting Disconnection

  “Unfortunately, aside from otherworldly vocals like Coggles, I never found myself in the feels from this show.” — Matt Tamanini, (07:46)

• On Subjective Experience

  “I would much rather you have a good time at the theater than agree with me.” — Matt Tamanini, quoting Peter Felicia, (08:01)

Key Timestamps

• 00:47: Introduction; overview of Hell's Kitchen tour and Matt's history with the show
• 02:00-03:31: Explanation of the musical’s plot structure and its divergence from standard biography
• 04:09-05:04: Praise for cast’s lighter, comedic take and Marley Soleil’s standout performance
• 05:04-05:54: Spotlight on mother-daughter themes and Kennedy Coggle’s “religious experience” performance of “Pawn at All”
• 06:09-07:12: Breakdown of problematic romance subplot and general structural issues
• 07:46-08:01: Reflections on the show's emotional impact and audience subjectivity
• 08:19: Closing thoughts; recommendation for music fans and those interested in mother-daughter stories

Final Thoughts

Matt Tamanini ultimately positions Hell’s Kitchen as a musical with electrifying music and exceptional performances that can create standalone magical moments (“goosebump-inducing performances”), but one let down by its confused narrative and jarring direction. For audiences looking for Alicia Keys’s music delivered by powerhouse vocalists—especially those drawn to mother-daughter dynamics—the show’s strengths may easily outweigh its flaws.

Recommendation:

• Go for the music, stay for the cast, and be prepared for narrative choices that may not always land.
• If the Alicia Keys catalog is meaningful to you, these moments will resonate, regardless of the storytelling issues.

Hell’s Kitchen National Tour is at Dr. Phillips Center, Orlando, through March 8, then continues to Fort Lauderdale and Tampa in early April.