Broadway has a knack for turning life’s messes into music and Hell’s Kitchen certainly tries.

The show bubbles with heart, ambition and the occasional line that sounds like it wandered in from a motivational poster. It does feel a bit trite like a jukebox musical that forgot to bring the actual jukebox.

Sadly, the original music is uninspired. Act 1 only includes one Alicia Keys hit, Girl On Fire. After intermission Hell’s Kitchen has more energy and features several hits with the rousing finale of Empire State of Mind.

I will give credit where it is due. The cast even with two understudies is the engine that keeps this play from stalling out. They sing, they dance, they sell the story with conviction. You almost forget you’ve seen this plot before in three other shows, two movies and at least one Netflix series.

Their talent lifts the material, proving again that Broadway performers could probably make a reading of the phone book feel like an event.

The Tony winning role of Miss Liza Jane, played by Kecia Lewis, is a standout. Christopher Jackson of Hamilton fame, adds a fair share of charm to the cast.

I swore I would not go back to see the show.  I had a ticket when Hell’s Kitchen debuted. When I arrived at the theatre the show was unceremoniously canceled.  The lure of an inexpensive ticket dragged me back.

The finale of Hell’s Kitchen is the high point. Finally, all the threads snap into place, the music to Empire State of Mind swells and for a few glorious minutes you think, Yes, this is what I came for!

Hell’s Kitchen Shubert Theatre 225 West 44th Street New York City. Tickets on sale through January 2026. Running time is 2:35 with an intermission.