On Broadway, The Drama League is not the Drama Desk. They’re an outlier group like the National Board of Review that nominates everything so everyone will come to their dinner.

So ouch! Today they nominated everything and everyone except for the musical version of “The Great Gatsby.” They threw one nom to actress Evelyn Noblezada. Otherwise they ignored this show. That’s not a good omen.

Their event is a lunch set for May 17th at noon. You can read the whole deal at www.dramaleague.org.

By 10am you will not be able to get a ticket for the six month run of “Cabaret” on Broadway.

The sensational revival, imported from London, features a thrilling and award winning performance from Eddie Redmayne as the emcee. His work transcends everything he’s done including his Oscar turn in “The Theory of Everything” and a previous Tony Award in the play, “Red.”

Londoners got to see this last year although US production adds Bebe Neuwirth in a show stopper of a role, and the equally good Steven Skybell. They, and Gayle Rankin as Sally Bowles, and Ato Blankson Wood, will all be Tony nominees.

Director Rebecca Frecknhall and the producers, working with Redmayne and the tech people, have scooped out the August Wilson Theater and turned into a real Kit Kat Club. New Yorkers may think they’re at the Tunnel or the Ritz from the 1980s. There are several different bars, and all kinds of performers slinking around before the show starts to give the feel of a decadent nightclub in Berlin as the Nazis took power.

This “Cabaret” is a totally immersive experience but can it also be very intimate and emotional. Of course, the Kander and Ebb score doesn’t hurt. The whole production results in one of the most satisfying nights of theater seen in a long, long time.

“Cabaret” takes place, as you know in pre-war Berlin. Jews think the Nazi’s are passing phase. But already there is trouble as an older couple — he’s Jewish. she’s not — are discouraged vigorously from marrying. The writing was on the wall if you wanted to see it. The story resonates today with antisemitism rising in subtle ways. Unlike the movie, the live stage musical of “Cabaret” is stark and foreboding.

Nothing prepares you for Redmayne’s performance. It’s one a kind, and had better be filmed before his time is up. While both Joel Grey and Alan Cumming are celebrated for playing the emcee in previous landmark productions, Redmayne turns the work inside out and stands it on his head. Fans who only know him from movies like “Fantastic Beasts” will not believe it’s the same person.

More tomorrow.

Alicia Keys’s musical, “Hell’s Kitchen” — opening tonight — could not have more entertaining performers. Does its story hold up? Not so much. But don’t think about it too hard. There’s a lot to enjoy.

Shoshanna Bean plays a version of Keys’s mother, raising her daughter, Allie, played by an astonished Maleah Joi Moon) in the artist’s building, Manhattan Plaza, in Hell’s Kitchen just west of the theater district.

The story is not about how Alicia Keys became a music superstar. Instead it’s just about the mother and daughter in a simple coming of age story. Allie gets an older boyfriend and eventually — by accident — a music teacher/mentor. At some point, her biological father, who’s also a musician, turns up.

Let’s concentrate on the positive: Alicia Keys’s hits, almost of all which are a collaboration with other pop writers, are unforgettable. Her biggest solo composition, “If I Ain’t Got You,” is highlighted, smartly, and is the centerpiece of the score. Unless you’ve been living under a rock for the last 24 years, you’ll be nodding your head and singing along.

The performers are sensational. Bean and Moon are hardly alone. The great Grammy, Emmy, and Tony nominee Brandon Victor Dixon plays Allie’s dad, showing off his knockout R&B vocal skills. He is the real thing. You could listen to him sing this whole show, frankly.

The big surprise is Broadway veteran Kecia Lee. Where has she been? Everywhere. She’s an overnight sensation after four decades. Her vocal range is stunning == really, the audience is taken aback by her skills. She and the three principles are certainly destined for Tony nominations.

“Hell’s Kitchen” is a very high end jukebox musical, Direction (Michael Greif), Choreography (Camille A. Brown) plus costumes, sets, lighting — they’re all top notch. What would have made this show something extra? A real book, more than cardboard cut outs of characters. Allie wants is a boyfriend, which she gets. Big deal. She stumbles into music but there’s no drama. Nothing is in her way. Her mother is doing a good job. Her father is not a bad guy.

Will Allie become a superstar? She shows no sign of it in “Hell’s Kitchen,” although she does learn to play the piano. I started writing about Alicia Keys and her terrific mother in 2000, when I first them after she signed with Clive Davis. Believe me, there was a good story to tell here. For some reason book writer Kristoffer Diaz, just didn’t tell it.

That doesn’t mean “Hell’s Kitchen” isn’t worth seeing — it most certainly is, just to hear these fine artists and to see the work on stage. And when they get to Keys’s “Empire State of Mind (New York)” at the end, you’ll be up and swaying along.