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Its worth being wary of any musical that positions itself as a love letter to New York City.
Remember the lessons of last seasons tourist brochurethat wasNew York, New York.
But as a piece of storytelling, Empire State of Mind doesnt get far past generalities.
As they do elsewhere in the production,Hells Kitchens director Michael Greif and choreographer Camille A.
Why does Ali love this concretebunghole?
Why is an Obama-era-recession banger closing a musical set in the 1990s?
Why is this all happening in front of a montage of New York landmarks that looks like aReal Housewivessegue?
Three versions ofHells Kitchenare competing for attention, creating a multiple-personality quality in Kristoffer Diazs zigzagging book.
Then, in its most compelling form,Hells Kitchenis about becoming an artist.
As powerful as that moment is, it also exemplifies the imprecision that makesHells Kitchenso frustrating.
Those losses bear an emotional weight thatHells Kitchenitself cant contain nor is interested in fully reckoning with.
In the second act, Knuck after we learn he is okay remains secondary.
Alis dynamic with her parents becomes similarly blurry.
But that naturalism sits awkwardly with Keyss songbook.
She writes to her own impressive technique, and the actors follow suit.
The results tend toward showboating.
But when songs force the story line to loop-de-loop around itself, things just get silly.
Moon, to her credit, grounds all this wherever she can.
Shes a great discovery, a virtuoso who also appears surprised and delighted by her own talent.
Hells Kitchenis at the Shubert Theatre.
