John Kissane — Theater Critic

The reunion was my favorite stretch of the show, in part because Deslorieux’s a strong actress, but mostly because the situation is so rich. It was drenched both literally (the rain was a nice bit of stagecraft) and figuratively, soaked with passion, humor and complexity. Allie had found a partner; she was about to be married. Was she really going to throw it away on a man she’d known for part of a summer when she was still a teenager?

You can watch “Hell’s Kitchen” for any number of reasons: to soak in the 90s nostalgia, down to the FUBU shirts and the R&B; to watch a young person begin to discover who she wants to become; and to imagine yourself, for a moment, in all the warmth and variety of New York City. It has all those things. But most of all, it has a mother and a daughter eating dinner at a table, doing their best to give each other what they need, and sometimes getting it right.

The thoughtfully designed set, often brilliant choreography and ILM-level tech come together to serve the actors and the story. Despite all the spectacle—that rain!—the show gives plenty of space for the quiet moments to breathe. It’s both spectacular and intimate at the same time. I loved the way it all looked at sunset, as the fading light cast a golden glow on everything. Of course, we know that gold can’t stay.

And this is much more than a concert or revue. Songs aren’t shoehorned in; instead, they’re smartly integrated, the lyrics contributing to the drama and the humor. “I’m Not A Girl, Not Yet A Woman,” which accrues new meaning when sung by May, will resonate in a special way with some audience members.

Fortunately, Katerina McCrimmon (as Fanny Brice) has talent to burn. She’s staggeringly charismatic. She’s funny, yes. Given the title, she’d better be. But she’s achingly human, too. She sang so well that, more than once, I found myself shivering.