Jackie Leon: CENTER STAGE – A Journey from Houston to Broadway's Hell's Kitchen"

There’s more to Jackie Leon than meets the eye. 

For eight shows a week, Leon steps into the world of Hell's Kitchen as Jessica, one of Ali’s hip best friends. The semi-autobiographical musical from Grammy Award-winner songstress, Alicia Keys, has taken the Broadway scene by storm and surely, Jackie Leon has too. 

Not only can be seen and heard on the stage as a performer and on the page as a playwright. She is a believer in the power of storytelling. So consider her a multidisciplinary artist, one whose different facets of their artistry informs their current and future work. 

Hell’s Kitchen went from being a buzzy Off-Broadway production at The Public Theatre to becoming the Tony-winning production on Broadway at The Shubert Theatre to being cemented as one of the most lively musical experiences that illustrates and embodies New York’s diverse melting pot of culture.

Leon has a unique perspective of the Broadway production of Grammy Award-winner Alicia Keys’ Hell’s Kitchen, having been with the musical since it was helmed Off-Broadway at The Public Theater. With multiple wins for the show at the 2024 Tony Awards, she basked in all of the glory of both her fellow Broadway newcomers and award-winning veterans. 

Within my conversation with Leon, you will learn about her adolescent days performing theater in Houston, TX: “I realized that theater could break down expectations and convey so much by defying conventions.” and about Leon’s passionate commitment to being a part of storytelling surrounding oppression and identity. Read on! 

You’re of Afro-Colombian heritage, and being from Houston, Texas—a place where many stars are born—I’d love to hear about what life was like growing up at the intersection of your identity. How did that cultural background influence your love for storytelling?

Yes, that’s such a beautiful question. Growing up in Houston, I never felt like there was anything I couldn’t do, especially when I started theater in high school. We explored absurdism and various types of farces, and everyone on stage was either Black or Brown, or, if they were White, they were of Mexican heritage. The diversity wasn’t looked at, that we didn’t have to be color conscious. Our school had 4,000 students and it was an extremely diverse school, so I never considered typecasting. When I got to college and people began discussing typecasting in a way I hadn’t experienced, I was confused. I wondered why anyone would need an all-White version of a show if it’s just about people. My upbringing had exposed me to a freedom where my culture was always present. I didn’t have to constantly assert or present myself—I could just be who I was. I never felt a yearning to be seen; the idea was simply to be exceptional and be yourself, and everything else would follow. 

When you did get to college, assuming you knew you wanted to pursue a career in the arts full-time, were there any moments when you were certain that this was the path you wanted to take? I know some people can feel hesitant, even at the collegiate level.

I spent my entire high school career doing plays. As a child, I was a dancer, then I did gymnastics, and I was also involved in music—my mom enrolled me in guitar and singing lessons. Her idea was influenced by her own experience in Colombia, where she studied chemistry. When she came to America, she faced a situation similar to many immigrant stories.. My mom became a nanny and poured into us, ‘You need to study. You need to go to college’.. She was putting me in all this stuff, hoping that I would get a full ride based on my special interests or my extracurricular activities like building myself in order to be a great college student and get money.

My theater teacher, Mr. D, suggested I go to college for musical theater, but I was hesitant because I didn’t do musical theater—I wanted to focus on acting. He encouraged me to pursue a program where I could train in all areas of theater, assuring me that if I still wanted to focus on acting afterward, I could. I decided to give it a try. However, I also felt a deep fear. I took theater history and learned about its roots in blackface minstrelsy and its evolution through vaudeville and other forms. My professor pointed out that historically, the industry didn’t want people like me on stage except to mock us.This was disheartening but also enlightening. Despite this, I discovered a show called Passing Strange, which made me realize that theater could be anything—it could be a rock musical, a black experimental piece filled with talent, joy, and exploration of the human condition. It could be truly fantastic and not just commercialized.

You’re a burgeoning playwright. I saw that you have two plays on YouTube—I did some deep research! I was really struck by Something’s Last. I watched it and was immediately pulled in. The dialogue and structure were particularly engaging. In general, what inspired you to start writing these stories? What motivated you to begin?

It was music—oh my God, that’s so personal! Thank you.

It was amazing. I was listening to Daniel Johnston when I wrote that entire play. He’s known as an outsider musician, but the appeal of his work, with its simplicity and rawness, really resonated with me. The way he used just a few chords to tell a story. It could be the same words over and over again, it’s somehow 4 minutes of something deeply compelling. During my freshman year, when I was about 14, my professor, Nick Mills, introduced us to Dadaism. I realized that theater could break down expectations and convey so much by defying conventions.

I found freedom and comfort in surrealism and absurdism. The world can feel so oppressive when trying to make sense of it, with its illogical and unfair systems. Writing allows me to create a world where conventions don’t need to apply because, to me, the world is already illogical and absurd. I’ve always seen human language and experience as a script. I keep a book in the dressing room with my amazing fellow ensemble members, where I write down funny things people say. So far, it’s 30 pages of shenanigans. I hear language and storytelling in that way, absorbing and reflecting it fully. It’s a great blessing. 

Jackie Leon and Reid Clarke. Photo courtesy of Jackie Leon.

Getting into Hell's Kitchen. You were in the original Off-Broadway production at The Public, so you had time to fully understand the show before it transferred to Broadway. What, if any, changes took place during the show's transfer? Give us an inside peek.

Yes, there was a point in Act II where it started with "Authors of Forever." It used to begin with a really intimate, almost humble, entry into the second act, and then transition into "Heartburn." But now, the second act starts with a party atmosphere—it begins on a high note with "Heartburn." Throughout the show, it maintains a level of angst, anger, and frustration that Ali feels as she struggles to understand her own desire for freedom and why she can’t achieve it.

There have been several changes, including some costume changes and rearrangements of the music. Kris Diaz worked extensively on this. Many moments have been fleshed out or adjusted to be a bit less on the nose. For instance, there’s a part I really like where Ali and Knuck sleep together. Originally, she would say things like, "And no I'm not gonna show you what happened after we close that door I like y'all but come on," implying he was disconnected and the new line is "We don't end up playing the buckets." Now, he shares more about his likes, including his thoughts on Tito Puente, which gives us deeper insight into Knuck.

Kris Diaz and Alicia Keys put in a lot of effort, and in just six weeks, they significantly transformed the show. On paper, the changes might seem minimal, but they are so smart and impactful that they make the show a truly beautiful narrative. I’m really proud of both of them, if I’m allowed to be, you know what I mean.

You also portray Jessica, one of Ali's closest friends. Where do you meet yourself in the process?

Photo courtesy of Jackie Leon.

Yes, a huge blessing I had with this show was that Kris Diaz said something like, "Jessica is Jackie, and Jackie is Jessica." I hope I’m not blowing up his spot, but his statement highlighted the freedom they gave me with this character. They just encouraged me to have fun, which allowed me to portray her as this extremely vibrant, bubbly, joyful, and silly person. At the same time, she experiences anxiety around authority figures. People like ‘Riq (played by Lamont Walker II plays Riq/Understudies Knuck)., who confidently defy authority without second thoughts, are incredibly attractive and fascinating to her, as is Ali (played by Maleah Joi Moon), who confidently refuses to conform.

Jessica gravitates toward these strong personalities because they seem to protect her joy, which feels threatened by the adults in her life. In embodying Jessica, I’ve infused her with a bit of anxiety and confrontation because that reflects my own experiences. I’m generally excited to be around my friends and find joy in life, but I also experience fear and anxiety—particularly about judgment and the potential loss of my joy. These aspects of Jessica are reflections of my own life and how I might approach similar moments.

Additionally, I think of Jessica as a "hype woman." She’s like those people in a dance circle who aren’t performing but are passionately cheering everyone on. The people who hype up others always inspire me. They give me life, and that’s what I aim to bring to Jessica.

What I find most fascinating about [Hell’s Kitchen] is that it's centered around finding yourself in a big world and taking risks, even when you don't know what the outcome is, and having a community. How do you find that in your own life you kind of touched upon it, but even a little bit more with your journey as a multidisciplinary creative? 

I found that participating in festivals and talking to people I respected were key to my growth. I remember during my freshman year of college, my teacher mentioned working for the IATI Theater. I didn’t know much about it, but I approached her and said, “I write plays. Can you read them?” She agreed, which was thrilling for me. 

Slowly, she encouraged me to write for various events, like a Poetry Night for Women’s History Month. As I continued to engage with my professors and ask them to read my plays, I built relationships with those I trusted. Some professors suggested opportunities like the 24-Hour Play Festival, where I initially auditioned as both a playwright and an actor. I was accepted as an actor, which felt like the beginning of a new chapter. It introduced me to a network of creatives working intensely for 24 hours to build theater.

From there, I began doing theater outside of school, performing at venues like Jack NY and participating in events such as the 24-Hour Play Festival. I also took part in the Latinx Playwriting Circle’s 29-hour reading session, which helped me connect with the Hispanic theater community. On the off-off-Broadway level, I met and built relationships with numerous Latinx playwrights, actors, and performers. We all shared a common experience of wanting to create theater in a financially challenging world, and it felt historic and beautiful to be part of that community.

I’m grateful to those who fostered these spaces. In New York, there are many opportunities to find community, whether through open mic nights or other events. It’s not necessarily about getting something in return, but about being hungry to perform and finding a supportive community. Additionally, students at Columbia [University] are often looking for actors, so saying “yes” to opportunities is crucial, though learning to say “no” later is also important.

In the same vein of being in New York and loving New York with the show, what I love is the costumes. It's going back to 90s New York fashion; The big sports shirts, the painted jeans. I love your costume with the painted jeans. Those are so cool, and the basketball shoes. How collaborative was that costuming process for Hell's Kitchen. Were you able to do your own research or did the amazing costume department just bring their own flair to it?

Yes, Dede Ayite, who has now won a Tony Award—I remember looking at all the research on the wall [in the costuming space], and Alicia, working alongside Dede, was incredible. They both had such a clear vision for the production. During fittings, Dede would ask, “How does this feel? Are you comfortable showing your midriff? Are you okay with this?” I would respond honestly, whether it was “Yes,” “I don’t know,” or “I really like this.”

Dedde had a clear vision for the world she wanted to create, and it resonated deeply. It was truly dope to be involved in a production where I felt seen and celebrated. I rarely see people with my body type on stage, so to be in costumes that make me feel hot, cool, fierce, and proud is a true blessing. I’m not hidden away anymore—I look fly!

Speaking of the Tony Awards, you all won big this season. First, congratulations. Such a major accomplishment. I'm sure everyone in the cast and crew was buzzing. Can you describe the feeling of that 1st show post-Tonys? 

Yes! Oh, my goodness gracious! When Alicia came to the show, she arrived before it started, stood in the circle, and spoke into the mic with such intimacy. She was talking about how proud she was of us and how much she appreciated the collaboration. It was a special moment. Then, I remember Kecia Lewis brought down her Tony and placed it on the table, rolling the little ball around with pride.   [A win] for a newcomer and [a win] for a veteran—the dichotomy of this theater industry."

It was amazing to see these folks celebrated. Of course, we should celebrate Kecia 'Mother*****n' Lewis—she's incredible. It was great to see people we care about receive such high accolades. The support from Alicia made us feel that our show is truly special. She mentioned how people come in, love what they see, and that we were even selling out shows. There were people who had lived in New York their whole lives, never seeing a Broadway show, but they came and felt seen here. That’s what it’s all about and I was like, ‘work.’

It's just a testament to what theater can do. If you can bring out audiences who wouldn't ordinarily go see a play or musical, and it's actually speaking to them; then you’ve won BIG. There's a lot of great shows out this season, but this one is very special to the city of New York. What is your favorite song to perform off of the soundtrack?

Okay, my favorite song to perform from the soundtrack—oh, that’s such a good question! If it’s a song featuring Jessica, I’d say it’s “You Don’t Know My Name.” It’s so much ‘fu***n’ fun, and you can tell the moment the audience clicks that this is what we’re doing. Even for people who aren’t familiar with gospel or the song  “Seventeen,” because “Seventeen” is a brand new song, they know “You Don’t Know My Name.” They go the minute it starts. It is so amazing.

Then, “Girl on Fire” it’s just a party up there, especially up there alone in my little balcony spot—it’s just so joyful. Those two songs are so very fun to perform as Jessica.

If I had to think of anything that's excellent to perform when I'm in an ensemble and I can back up, it would be  “Heartburn”. I know the dancers will hate it, but I love watching them dance.

Photo courtesy of Jackie Leon.

They're doing their thing, and you're just like, ‘Hey, I can vibe to this.’

Literally. I'm like ‘Y'all better go.’ They are dying afterwards. I'm like ‘Y'all did that!’ 

It speaks to their work, and how much work it is to do that for so long on stage. What is your favorite song to listen to and vibe to? What artists are you listening to right now?

Oh, my goodness, let me think. I’ve been in my emo era, so I’ve been listening to a lot of emotional songs lately. I was listening to Flatsound because I’ve been dealing with a lot of grief over the past week, and I needed music that reflected those emotions. 

But when I’m feeling good, I really enjoy noname, Girlpool, and Flatsound. I’ve also been listening to “Army Dreamers” by Kate Bush, which has been going viral and is very powerful. Also, Pinc Louds, a New York-based band that I love. Overall, my taste leans towards indie and indie emo sounds, if that makes sense. 

Your Instagram bio says that you're ‘a lover of spooky, oddy, gaudy things.’ Are you interested in exploring the horror psychological thriller genre, professionally in your work? 

Yes, I am! As a performer and especially as a playwright, I love horror. Every time I watch a good horror film, it evokes feelings of disgust and fear, which often obscure deeper themes such as grief, confusion, identity, or acceptance. Movies like It Follows or The Babadook use horror as a tool to confront immediate visual terror, revealing intimate narratives about the human experience.

Horror is fascinating because it reflects core shifts in our environment and societal changes. It’s exciting to see what people fear from decade to decade. Additionally, while H.P. Lovecraft is a super villain, and we hate him, the concept of an oppressive power that controls your life resonates deeply with the Black, Brown, and queer experience. I find those just great ones about how we view the world and what we suffer through almost every given day

That excites me after seeing the work you've done before, so I guess my final question would be, you know, if you know now, or even like what you see in the future. What's next for THEE Jackie Leon? 

What’s next for Jackie Leon? Well, I’m working on a few new projects. I’ve written a new play that I’m trying to turn into an audio play. I’m also signed with CESD’s Voiceover Department, so hopefully, you’ll hear my voice in some animated shows—that’s the dream!

I’m very excited about these opportunities, so while you might not see me, you’ll definitely hear from me very soon.

You can see Jackie in Hell’s Kitchen, which is currently running at the Sam. S Shubert Theatre.