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.

Last night I attended a press preview for Alicia Keys’s lively Broadway musical, “Hell’s Kitchen.”

The Shubert Theater was packed except for two house seats just across the aisle. At the same time, my companion received an email confirming tickets for last night, for the new play, “Patriots.” She also had a confirmation for Saturday for the same play.

Where were the people from the empty seats, we wondered? I joked, probably at “Patriots” by mistake.

Starting this past Monday, and ending late next week, Broadway is in an annual period of chaos. More than a dozen new shows have opened or will, all to qualify for the Tony Awards. Broadway publicists are busy shoehorning Tony voters and press into theaters already mostly sold out to paying customers.

Working the schedule requires the mind of Gary Kasparov, it’s such a chess game. Last night, while we were at “Hell’s Kitchen,” a talky play called “Suffs” opened across the street. It received mixed reviews, but Hillary Clinton was there. Tonight, a very hot play called “Stereophonic” is opening that everyone is trying to see (maybe next week, maybe not).

Over the weekend, there are not one but two opening nights for Eddie Redmayne in “Cabaret.” The Alicia Keys musical is also opening on Saturday night, which will have a ton of celebs in the audience and fans singing along to this high-end jukebox show.

On Monday “Patriots” is opening at 2pm, and the Huey Lewis jukebox musical at 6pm. This is unfortunate timing as it is the beginning of Passover, which means a lot of people will be at seder tables and not in aisle seats. (Don’t worry, we’ll catch up!)

But come Tuesday, the game resumes. A play called “Mary Jane,” starring Rachel McAdams, is opening (but it has lukewarm buzz, so it can wait). Wednesday at 2pm is the first performance of “Illinoise,” a late entry musical transferring from the Park Avenue Armory. In this case, the buzz sounds like a chorus of cicadas, so everyone wants to see what’s going on.

But wait: “Uncle Vanya” is opening that night at Lincoln Center. Steve Carell stars in it. For best revival of a play “Vanya” will have to deal with the knockout production of “An Enemy of the People” with Jeremy Strong and Michael Imperioli. So there’s a lot of interest.

Are you exhausted? Have you had enough peanut M&Ms and diet Coke — total price in theaters $17 — for the week? (Because that’s what we call “dinner” on Broadway.) Thursday brings two more openings: “The Great Gatsby” musical and a play called “Mother Play” with Jessica Lange and Jim Parsons.

And these were all preceded by “The Outsiders” and “The Wiz” (very good reviews each), “Water for Elephants” (outstanding), the “Doubt” revival (very strong), “Appropriate” (a surprise hit with Sarah Paulson), ” “Tommy” (a hot pick), “Lempicka,” and “The Notebook.” Plus everyone wants to see “Merrily We Roll Along,” “Kimberly Akimbo,” and “Sweeney Todd” before they close.

Also, let’s not forget the perennials still running, like “The Lion King,” “Aladdin,” “Book of Mormon,” “Hamilton,” “Wicked,” “MJ,” “And Juliet,” and so on. There’s also that Neil Diamond musical that keeps posting closing notices but never closes. (They just donated $750,000 to the Parkinson’s foundation.) And somewhere out there, “Chicago” is still playing to decent houses.

And what about those indefatigable (“Can you do tonight at 7? Tomorrow at 8?”) publicists? They sound exhausted on the phone. They stand outside the theaters — no matter what the weather, and this season has been cold, gray, and rainy — happily greeting their guests with tickets. How do they do it, and keep it all straight? They must be reading Kasparov’s book!

And still, there’s always an article insisting Broadway is dead. If it is, it’s not only walking, but dancing and singing!