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HELL'S KITCHEN
Ali is a 17-year-old girl full of fire – searching for freedom, passion and her place in the world. How she finds them is a New York City coming-of-age story you've never felt before – Hell’s Kitchen, a new musical from 16-time Grammy® Award winner Alicia Keys, whose songs and experiences growing up in NY inspire a story made for Broadway.
Rebellious and stifled by an overprotective single mother, Ali is lost until she meets her mentor: a neighbor who opens her heart and mind to the power of the piano. Set to the rhythm of the 90s, Hell's Kitchen is a love story between a mother and daughter. It's about finding yourself, your purpose, and the community that lifts you. Come remember where dreams begin.
The “powerhouse cast” (Variety) is led by Tony Award® winners Maleah Joi Moon and Kecia Lewis. Hell’s Kitchen is directed by four-time Tony Award® nominee Michael Greif, with choreography by Tony Award nominee Camille A. Brown, a book by Pulitzer Prize finalist Kristoffer Diaz – and the music of Keys, featuring new songs and her greatest hits.
Hell's Kitchen Broadway Show Tickets
HISTORY
The Shubert Theatre had its genesis in the New Theatre, an “art” playhouse located on Central Park West that was devoted to serious repertory drama. Although the project was a critical and commercial flop, the New Theatre Group, which included Lee Shubert, leased a plot of land between 44th and 45th street to construct a new venue. The plan was abandoned, but Lee Shubert and Winthrop Ames, a former New Theatre partner, acquired a lease for the site, and built two adjoining playhouses there. Lee and J.J. operated the larger of the two auditoriums, which they named the Sam S. Shubert Memorial Theatre to commemorate their brother, who had died in May 1905. Ames managed the smaller Booth Theatre.
ARCHITECTURE
The Shubert and Booth theatres utilized an unusual design scheme, sharing an architecturally unified exterior (in the style of the “Venetian Renaissance”), but completely distinct interiors. The sgraffito (plaster frescoes created by etching plaster while it is still wet) that decorates the exterior was architect Henry B. Herts’s unusual decorative solution to a statute in the city’s building code dictating that no part of the edifice project beyond the building line. Another distinctive feature is the private roadway connecting 44th and 45th Streets, which runs between the two new theatres and the rear of the adjacent building--formerly the Astor Hotel, now the Minskoff. This thoroughfare, which came to be called Shubert Alley, allowed each theatre to occupy a corner lot. The Shubert's elegant interior is marked by elaborate plasterwork, and a series of theatrically-themed painted panels that adorn the boxes, the area above the proscenium arch, and the ceiling. Lee chose to build an office/apartment above the theatre, which is now the location of the Shubert Organization’s executive offices.
Spotlight on Broadway: Shubert Theatre from Spotlight on Broadway on Vimeo.
Details on the Shubert Theatre's Accessibility
Access Information
Theatre is not completely wheelchair accessible. There are no steps into the theatre from the sidewalk. Please be advised that where there are steps either into or within the theatre, we are unable to provide assistance.
Shubert Audience Services
The Shubert Theatre provides accommodations for patrons who are blind, deaf, partially sighted, and/or have hearing loss. The theatre provides infrared assistive listening devices for every performance at the theatre. In addition, beginning four weeks after a show’s official opening night performance, hand-held audio description devices, hand-held captioning devices, and unlimited access to downloadable audio description and/or captioning for personal mobile devices are all available free of charge. Prior thereto, we offer live-caption via CART using a hand-held device, upon request with two-weeks’ advance notice. For assistance, or If you have questions, contact Shubert Audience Services at 212-944-3700 or audienceservices@shubertorg.com. There is also a representative at the Shubert Audience Services kiosk at every performance to assist any patron with any of our devices, software, or technology. Hand-held devices are limited, although additional devices can be obtained with at least twenty-four hours’ notice.
Accessibility by Seating Section
Orchestra Location: Seating is accessible to all parts of the Orchestra without steps. There are no steps to the designated wheelchair seating location.
Mezzanine Location: Located on the 2nd level, up 2 flights of stairs (34 steps). Please Note: On the Mezzanine or Balcony level, there are approximately 2 steps per row. Entrance to Mezzanine is behind row K.
Balcony Location: Located on the 3rd level, up 3 flights of stairs (56 steps) from the Orchestra. Please Note: On the Mezzanine or Balcony level, there are approximately 2 steps per row. Entrance to Balcony is behind row J.
Handrails: Available at the end of every stepped seat row in the Mezzanine and Balcony.
Wheelchair | Companion Seat Locations:
Orchestra: T101 | T102, S103-104; T2 | T4, S2-4; T13 | T11, T7-9; T17 | T19, S19-21; T113 | T112, S111-112; T1 | T3, S1-3; T23 | T21, S23-25
Aisle Seat with Folding Armrest | Companion Locations:
Orchestra: S101 |S102; S114 | S113; R2 | R4; R25 | R23; O26 | O24
Elevators/Escalator
None available
Restroom
There is no wheelchair accessible restroom in the theatre. Wheelchair accessible restrooms are located in the Sardi Building, across the street from the Shubert Theatre on the 4th floor. Front of house staff is available for assistance in crossing the street. Restrooms are down 1 flight of stairs from the Orchestra, up 2 flights of stairs from the Orchestra, and up 3 flights of stairs from the Orchestra. Gender diversity is welcome here. Please use the restroom that best fits your identity or expression.
Water Fountain
The water fountain is located in the lobby.
Theatre Policies
The use of cameras, recording devices, cell phones, beepers, and other electronic devices during the performance is prohibited, except as permitted for accessibility services. Everyone attending a performance must have a ticket. Latecomers will be seated at the discretion of management. Wheelchair and mobility-impaired seating is intended for patrons with mobility disabilities. Children under the age of four years will not be admitted. No outside food or beverage permitted, unless medically necessary. No weapons permitted on the premises.
In its early years, the Shubert played home to both plays and musicals. Some of the more significant plays to appear were The Copperhead (1918) starring Lionel Barrymore, The Blue Flame (1920), Dodsworth (1934), Love on the Dole (1936), The Philadelphia Story (1939) featuring Katharine Hepburn and Shirley Booth, Othello (1943), Mae West’s Catherine Was Great (1944), Anne of the Thousand Days (1948) with Rex Harrison, Checkhov’s Ivanov (1966) starring John Gielgud and Vivien Leigh, and The Constant Wife (1975) featuring Ingrid Bergman.
As for musicals, a truly impresssive roster has called the Shubert home. Five Sigmund Romberg shows premiered here, including Maytime (1917), one of the Shubert brothers’ most successful operettas, as well as The Magic Melody (1919), Marjorie (1924), My Princess (1927), and My Romance (1948). The playhouse showcased many revues like the popular Greenwich Village Follies (1921, 1922, 1924, and 1926), and Artists and Models (1923).
Five Rodgers and Hart musicals debuted here as well, including Babes in Arms (1937) which introduced the standards “My Funny Valentine” and “The Lady is a Tramp”, and Pal Joey (1941), which featured Gene Kelly and the premiere of “Bewitched, Bothered, and Bewildered.” Rodgers returned with his new collaborator, Hammerstein, to present Pipe Dream (1955). Cole Porter had two hits at the Shubert: Kiss Me Kate (1948), and Can-Can (1952) starring Gwen Verdon, while Comden and Green collaborated with Jule Styne to create Judy Holliday’s star vehicle Bells Are Ringing (1956).
The 1960s and 1970s offered quintessential musicals of this era. Barbra Streisand marked her Broadway debut in I Can Get It for You Wholesale (1962). Anthony Newley had two successes: Stop the World, I Want to Get Off (1962) and The Roar of the Greasepaint, the Smell of the Crowd (1965). Neil Simon and Burt Bacharach’s Promises, Promises opened in 1968, and Stephen Sondheim’s A Little Night Music (1973) gave the world “Send in the Clowns.” Then, on October 19, 1975, A Chorus Line, the Off-Broadway hit from the Public Theatre, opened uptown at the Shubert. This “singular sensation” would remain for a record-breaking fifteen years (6,137 performances), before closing on April 28, 1990.
Following A Chorus Line's legendary run were the “new” Gershwin musical Crazy for You (1992), and a revival of Kander and Ebb’s Chicago (1996). After Chicago transferred to the Ambassador, Bernadette Peters starred in a revival of the backstage classic Gypsy (2003). More recently, the Shubert was the home to the Tony award-winning Best Musical Spamalot (2005), a revival of Blithe Spirit (2009) with Angela Lansbury, Best Musical Memphis (2009), Matilda the Musical (2013) and the Tony Award-winning revival of Hello, Dolly! (2017) starring Bette Midler.
Visit the Internet Broadway Database for a complete list.
THEATRE SPECS
Shubert Theatre
225 West 44th Street
Between Broadway and 8th Avenue
New York NY 10036
Year Built | 1913 | |
Seating Capacity | ||
Orchestra | 700 | |
Mezzanine | 410 | |
Balcony | 350 | |
Boxes | 16 | |
Standing | 26 | |
Total | 1502 | |
Included in Totals Above: | ||
Orchestra Pit | 28 | |
Wheelchair | 7 | |
Aisle Transfer Arm | 16 | |
Theatre Dimensions | |
Proscenium Opening: | 39' 9" |
Height of Proscenium: | 28' 6" |
Depth to proscenium: | 33' 10" |
Depth to front of stage: | 36' 0" |
Stage Type: | Proscenium |