Max and Willy are business partners chasing the “American Dream,” but who keep getting caught up in other people’s schemes.  Not this time!  Bankrolled by Tommy Grace, the two immigrant childhood friends are determined to “go legit.” Their Hell’s Kitchen nightclub in the West 40’s is designed to make patrons think they’ve arrived in the East 50’s. What could go wrong? Plenty.

Find out starting January 8 at Don’t Tell Mama! for Susan Crawford & Dan Seidman’s musical journey into Hell’s Kitchen in 1928 — Fifth Avenue – A Jazz Musical Comedy — presented at that bastion of Broadway ballyhoo, Don’t Tell Mama, 343 W 46th St, New York City (where better to present a musical about opening a 1928 nightclub in Hell’s Kitchen, than in a nightclub in Hell’s Kitchen? Running Monday nights from January 8 to February 12, 2024, at 7:00 p.m. Reserve your seat for the first new musical of 2024!$25 Cover / $20  Minimum (must include 2 drinks) per person / CASH ONLY
Food Menu Available / Doors open at 6:15
RESERVATIONS HERE

We sat down with Kevin Arnold from the cast to find out what makes him and the show tick!

Tell us about yourself – as an artist?

I always found the artists I admire most are not necessarily those with the finest voices, but those that exude a sort of sensearity to the story. The ones who wholeheartedly and unapologetically commit to their choices and pour all of themselves into their character. While I am not vain enough to believe I am able to accomplish this every night, that is always my goal. To be truly honest to the character and to the story.

What drew you to this project?

There is so much to love about this production; the plot is compelling, the characters are intriguing, and the music is absolutely spectacular! The opportunity to craft a brand new character from the ground up, while helping tell such a great story alongside such a talented, experienced, and generous cast, is an opportunity any actor would feel fortunate to have!

What’s your creative process and what do you need to “forget” to play these 1920s
characters?

Though these characters may have lived (literally) a hundred years ago, it is important to recognize that they are still very similar to us. They feel the same emotions and desires as we do in the 21st century. Sure, there are stylistic differences—how they stood, walked, or spoke—but at their core, these characters are no different than the people we sit across from on the Subway. Perhaps the key isn’t “forgetting,” but empathizing and relating to them. What is it that drives these characters? What do they want, and through what means do they attempt to obtain it? If one can find a character’s motivation, and play into that, I’ve found that many of their other attributes will naturally fall into place.

What can today’s newcomers to this country learn from these newcomers?

It takes a very brave, strong person to move to a new country, and to those who have immigrated to the United States, I applaud their determination! However, there are also people like my character Donald, who are not as welcoming. I hope those who see this production recognize Donald for what he is: a patronizing, judgemental fraud. Moreover, I pray they find solace that, in spite of all the “Donalds” in this country, there are those of us who feel grateful to welcome you to America!

What’s next for you?

Once this production closes, I will be taking on the role of Franze in Axelrod Performing Arts Center’s production of Sondheim’s Sunday in the Park with George. It will open March 8th and run until the 24th in Deal, New Jersey!