Hell’s Kitchen, premiering on Broadway in its transfer from the Public Theater is nothing short of gorgeous perfection. Though the creative team rendered a phenomenal production in the fall of 2023 at the Public’s Newman Theater, the 299 seat venue and smaller stage offered a constricted space. The Shubert Theatre Broadway is the proper venue for this update, expanding the bravura performances and allowing for the outsized dance numbers and abundance of talent that is free to explode with musical glory. This production is totally “on fire” and more than “ready” for Broadway in a masterful presentation of Alicia Keys’ music in a coming-of-age story that is inspired by her own life!

With its apparently seamless transfer, Hell’s Kitchen, with book by Kristoffer Diaz, Alicia Keys’ glorious lyrics and music, Adam Blackstone’s music supervision, Camille A. Brown’s dynamic choreography, Michael Greif’s thoughtful direction and Alicia Keys and Adam Blackstone’s arrangements of key songs from her repertoire (and a few new ones), what’s not to adore?

Integrating Keys’ playlist with an organic story rooted to a New York setting during a period of a few months, Greif, Keys and Diaz’s choices stir up the magic that makes this production uncharacteristic and unique, far from the typical obtuse branding of a “jukebox” musical, which it isn’t. The overriding conflict in Hell’s Kitchen is between mother and daughter in their story of reconciliation, which on another level writes a love letter to New York’s loudness, brashness, street people, and atmospheric social artistry in the 1990s.

Even if you are not an Alicia Keys’ fan, you will be enthralled with the performance of the sterling, exceptional voice and presence of Maleah Joi Moon, who is the frustrated Ali, who casts herself as the princess her mother (Shoshana Bean), cages in their apartment. Ali fights for her “freedom” against her narrow vision of her “monster” mom who she believes is a restrictive, paranoid, hypocrite who doesn’t know what life is about. Meanwhile, underneath, she is crying inside, but doesn’t realize how and why.

Using flashbacks from the present with events highlighting all the characters that mattered in her life at the time, Ali tells her story of a special summer, not as we are initially led to believe, because she is with a man. Rather it is a reflection on her past from which she gains wisdom and understanding, through love, sorrow, heartbreak and renewal. The backstory of Ali’s life at Manhattan Plaza, a subsidized residency for artists, is revealed in various songs: “The Gospel,” “The River,” “Seventeen,” and others. Through her storytelling, she reveals her understanding of how pivotal these events are in her relationship with her mother and father, and her relationship with herself as an artist.

Ironically, Jersey (the non pareil Shoshana Bean), knows all too well how one is caught up in the distractions of the opposite sex (“Seventeen”). She coupled with Davis (the soulful Brandon Victor Dixon), when both were not ready to be Ali’s parents. While Davis took off to pursue his career, Jersey gave up hers to raise Ali, work two jobs, live in subsidized housing for artists at Manhattan Plaza, and attempt to corral Davis whenever he was in town to be a father to Ali. Though Ali knows the facts about her parents, she doesn’t understand the profound nature of their relationship as it relates to her. She resents Jersey and Davis and tries to suppress underlying anger about feeling unloved, unwanted and tyrannized. The rage spills out continually against Jersey who must take the brunt of it as a single parent.

Ali seeks her identity and purpose apart from the family situation and her father’s “abandonment” that she rages against. Spurred on by her friends she throws herself herself at Knuck (Chris Lee). The twenty something is one of a three-person bucket drumming crew providing excitement and sexy currents busking in the courtyard of Ali’s residence. Ali’s attraction to him is so palpable, Jersey warns the doorman and her police friends to “watch out” for her daughter’s wiles with the “bucket drummer,” which miffs Ali. When tensions increase with her mother, Ali seeks comfort from Miss Liza Jane’s (the incredible Kecia Lewis), classical piano playing in the Ellington Room of Manhattan Plaza, which so inspires her, she realizes she’s found a part of herself, (“Kaleidoscope”).

There is an underlying irony that Diaz’s book suggests about Ali’s selection of Knuck. Of all the guys at her disposal in New York City, the ultimate attraction falls under her mother and her gossipy doorman’s and neighbors’ noses. Of course her mother is provoked and has a friend cop disperse the drummers. The drummers think they are unwanted because Ali’s mom is white and a racist. Though they are not arrested, the event is frightening. Importantly, it reveals Ali is selfish and willful. Her underlying problems with her family will leech out to impact her relationships unless she checks herself and tries to resolve them, but at this juncture, she doesn’t. Instead, she searches out Knuck who tries to tell her his experiences as a Black man fighting an identity he is branded with, in an attempt to get her to understand that the situation with her white mom’s reaction is dangerous (“Gramercy Park”).

In an attempt to reach out to her daughter, Jersey discusses why she is so “paranoid,” and we get to meet the sexy Davis (“Not Even the King”) when Brandon Victor Dixon smoothly croons his heart out. Bean’s Jersey joins him in “Teenage Love Affair,” and we understand how both allowed the sizzling attraction between them to overthrow rationality, precisely what Jersey fears will happen to Ali. After her discussion with Ali, it seems that mother and daughter have reached an agreement and understanding. However, Ali pushes that understanding aside and willfully seeks out Knuck.

With almost unconscious rebellion, without regard for Knuck (she lies about her age), she pursues an intimate relationship with him (“Un-thinkable [I ‘m Ready]). Indeed, with her provocative behavior, encouraged by her friends in the astounding “Girl on Fire,” she boldly brings Knuck to her apartment, flaunting her faux adulthood on Jersey and disrespecting their home. is it any surprise Jersey finds them in a state of undress? The white mother who has branded Knuck throws him out; and that is when he is told Ali is underage. He runs for his life.

When Ali runs after him, there is confusion and chaos downstairs where his friends have been drumming. Ali tries to apologize to Knuck in front of the crowd when Jersey stops her, tells her to go upstairs and slaps her when she ignores her. Jersey’s action serves as a trigger, the doorman catches Knuck, and cops arrive with flashing red lights to arrest the drummers.

In a typical aftermath, we don’t know if the drummers who have done nothing are OK or not. A hysterical Ali is helped by Miss Liza Jane who finally gets through to Ali (“Perfect Way to Die”), helped by the Peter Nigrini’s projection design which include black and white photos of sons and daughters who have been the victims of police brutality, otherwise known in the South as lynchings. In the interlude Miss Liza Jane tries to encourage Ali, inform her about the racial history of the US and quietly suggest that she can’t afford to be reckless in a racist culture. Miss Liza Jane affirms that Ali must take her anger and pain and use it for an artistic purpose. This is another major theme of Hell’s Kitchen, a theme which Alicia Keys and her friends in the music industry realize every day of their lives.

Interestingly, Hell’s Kitchen doesn’t beat the audience over the head with police brutality; no one is injured, but Miss Liza Jane, who shares her historical, personal experiences sings/speaks to Ali like an adult who can understand. Wisely, Keys and Diaz reveal sub rosa the institutional racism in the culture as it is suggested in “You Don’t Know My Name.” In that song, they emphasize the harm in stereotyping, branding and dismissing the humanity of Knuck as “invisible.” Indeed, Jersey falls into the trap out of fear, though she is not a racist and has a mixed race daughter. Nevertheless, this profound concept is revealed; and as open minded as Jersey is, she is unfair to Knuck. Her daughter is to blame for lying to him.. In how many situations like this have Black men been killed? Knuck and his friends, thus far, have been fortunate.

Moon’s Ali is a combination of innocent and alluring, a convincing “wild child” who wants to attract Knuck, the forbidden prize she can toy with, (repeating the same situation her mother was in), to provoke Jersey for love, or perhaps to drive at a deeper understanding between them. Her obtuseness in endangering Knuck and the others, until the amazing Kecia Lewis’ Miss Liza Jane, and Brandon Victor Dixon’s superb Davis counsel her, is key to her evolution. Importantly, it is a vital mentoring theme for teenagers.

In Act II, when Ali suffers a touching loss that she can’t overcome, but can only move forward through, Moon is just terrific in expressing her hurt and sorrow with grace. Her performance is a smashing powerhouse. Likewise Shoshana Bean as Jersey, in her presence, her fear, anger, panic and emotionalism, rocks the role out of the ballpark.

The two actors create a felt relationship that is authentic and heartfelt. They effect a mother daughter bond that satisfies all the digressions from rebellion, to incriminations to regrets, to sorrows, to reconciliation and a forever, spiritual love which Act II’s songs encompass, especially “If I ain’t Got You,” Hallelujah/Like Water,” “No One.” And of course Hell’s Kitchen wouldn’t be “Hell’s Kitchen” without “Empire State of Mind” in which all the creative team, the swings, Chloe Davis (dance captain), and others pull out the stops and dance and sing passionately as Peter Nigrini’s marvelous projections of New York City’s aerial views at night, form the moving backdrop.

Kecia Lewis as Miss Liza Jane, Chris Lee’s Knuck and the smooth, silky voiced Brandon Victor Dixon are the counterparts of Maleah Joi Moon and Shoshana Bean. The bucket drummers, and Ali’s girls have exceptional voices and presence. There is no spoiler; I’ve intentionally left out a discussion of how the resolution and renewal occurs and when it occurs in Act II.

You really shouldn’t miss Hell’s Kitchen, especially if you are a New Yorker.

Finally, Michael Greif’s vision, his integration of Robert Brill’s fabulous scaffolding scenic design with the rectangular construction grids stylizing the New York City buildings with neon lights, is perfect. Situating the musicians above on the scaffolding so the music rings out the harmonies of Adam Blackstone’s and Alicia Key’s arrangements, in fact all of it, including Natasha Katx’ multi-colored lighting and spots are breathtaking. Importantly, Gareth Owen’s sound design is balanced and painstakingly effected, so I heard each word. On many musicals, the sound design is problematic and slips. Owen’s was right on. Dede Ayite’s costume design and Michael Clifton were period appropriate. The Hilfiger and Gap brands, cargo pants, mid-drift tops, low slung pants with jazzy underwear, and sparkles and shimmering outfits when most needed (especially the last song), were fun and New York identifiable.

All the creative elements aligned with Greif’s vision of a Hell’s Kitchen which is undergoing transformation and hope, despite unresolved institutional racism and discrimination.

As with the Public’s production I was thrilled by Camille A. Brown’s choreography and the dancers’ amazing passion and athleticism incorporating a variety of hip hop dances from the period and then evolving into something totally different. Unusually, there is movement during times when least expected, but all correlated with the emotion and feeling of the characters making the dancers’ moves expressive and coherent.

I’ve said enough. Get your tickets. After the Drama Desks and Tony’s the prices will be higher and you won’t be able to get a more affordable ticket. Now is the time.

Hell’s Kitchen in its Broadway premiere runs two hours thirty-five minutes at the Shubert Theatre, 235 West 44th Street between Broadway and 8th Avenue. https://www.hellskitchen.com/