Alicia Keys is making a musical. Her own life inspired the story.

For over a decade, Alicia Keys has been quietly developing a musical inspired by her own turbulent childhood growing up among artists in New York City. Now that “Hell’s Kitchen” musical is almost ready for viewing: It will be performed this fall at the Public Theater, the downtown nonprofit that gave birth to “A Chorus Line” and “Hamilton.”

Either way, the musical will be big: It’s got a cast of 20, the biggest budget of any show audiences have ever done, and, of course, music from Keys, an R&B and pop singer who has sold tens of millions of copies. defeated. The show will feature some of Keys’ most famous songs, as well as new material she’s written for the musical.

“This is my pride and joy,” she said in an interview. “This is a major turning point in my journey.”

“Hell’s Kitchen” doesn’t exactly follow events in Keys’ own life, but there are strong parallels. Set in the 1990s, it takes place during a few months in the life of a 17-year-old named Ali, who is being raised by a single mother in Manhattan Plaza, a large housing complex where many of the residents are performing artists; there is family tension, sexual exploration and musical discovery. (Ali, like Keys, is transformed by a passion for piano.)

Keys has been heavily involved in the show’s development, and her own production company holds the commercial rights to the life the show could have outside of the audience. “I’m never free,” Keys said. “There is not one page, there is not one leaf, there is not one word, there is not one song, there is not one melody, nothing happens in this piece that moves without me being fully immersed in it and the authenticity make sure.”

The musical was Keys’ idea, and in 2011 she selected the playwright Kristoffer Diaz (“The Elaborate Entrance of Chad Deity”) to write the book; in 2018, the two asked Michael Greif (“Rent”) to join the project as director, and Greif then brought it to the public.

“It’s very much about a young woman pushing her limits,” Greif said. “It’s a story about a series of clashes she has with very important people in her life when she’s 17, and how those clashes affect the person she would become.”

“Hell’s Kitchen” begins previews Oct. 24 and opens Nov. 19. An up and coming actor named Maleah Joi Moon will play Ali; her mother is played by Shoshana Bean (“Wicked”), and her estranged father is played by Brandon Victor Dixon (“Hamilton”); Camille A. Brown will choreograph.

The Public is already planning to stage “Hamlet,” directed by Kenny Leon and starring Ato Blankson-Wood, as the only Free Shakespeare in the Park production this summer, but will now follow suit with a new Public Works adaptation of “The Tempest,” with songs by Benjamin Velez and directed by Laurie Woolery. The Public Works program, which stages musical adaptations of classics with a handful of professional actors and a large ensemble of New York City amateur performers, began in 2013 with another adaptation of ‘The Tempest’.

“The Tempest” will be the last production at the Delacorte Theater in Central Park until 2025; the public is trying to figure out if and where it can put on a production next summer while the Delacorte is being renovated.

In October, The Public will collaborate with NYU Skirbal to present three plays by Seán O’Casey staged by the Druid Theater in Ireland.

Beginning in November, The Public plans to perform “Manahatta” at the downtown theater, a play that connects Manhattan’s Native American history with today’s financial industry, written by Mary Kathryn Nagle and directed by Woolery. That will be followed in February by “The Ally,” written by Itamar Moses and directed by Lila Neugebauer, starring Josh Radnor as an atheist Jew whose social justice obligations are complicated by Middle Eastern politics. In March, ‘Sally & Tom’, written by Suzan-Lori Parks and directed by Steve H. Broadnax III, is about a contemporary theater company trying to make a play about Sally Hemings and Thomas Jefferson. And in April Jordans, written by Ife Olujobi and directed by Whitney White, is a comedy about blackness in an overwhelmingly white workplace.

There’s one thing the public isn’t going to do: present the previously annual Under the Radar Festival of experimental work. “It’s completely a financial decision,” said Oskar Eustis, the public’s artistic director. “This doesn’t mean the public is giving up its relationship with inner-city experimental artists, but we’re looking for a new way to embody that.”