More than 1,000 people gathered at Frisbee Hill in Central Park on August 12 to dance to Alicia Keys in a massive flash mob to celebrate community and New York City.

The event was organized in collaboration between Camille A. Brown (choreographer of Broadway “Hell’s Kitchen”) and Every Body Move and was directed by Laurie Woolery, Director of Public Works at the Public Theater.

Weeks before the August 12 meeting, the public released a video of “Hell’s Kitchen” Dance director Chloe Davis performed a choreography by Brown based on the Broadway musical so participants could learn in advance. Afterwards, everyone gathered at Frisbee Hill for short rehearsals in small dance groups, then there was a large group rehearsal led by Davis and a filmed performance of everything they had learned.

“I just love seeing so many people making this movement together,” Davis said. “What makes ‘“Hell’s Kitchen” “The choreography is so impressive because you see individuality everywhere and … we don’t move in unison, but together. And that’s exactly what I saw, only multiplied.”

With the standard theater space used by the public for Shakespeare in the Park (the Delacorte Theater) closed for renovations, the team had to come up with something creative to bring accessible art to New York City this summer.

“We thought, ‘So what can we do to invite all of New York to come and be a part of it – to experience a little bit of the magic of the Public Works experience?'” Woolery said.

The goal of the event was to have at least 1,000 attendees and that goal was not only met, but exceeded. The park was filled with energy, excitement and Keys’ song “Empire State of Mind.”

“This song is about Alicia Keys, a young woman who dreams of a bigger life outside of her apartment,” Woolery said. “And I think you’ve met some of our young people here who can look at Alicia Keys and Camille A. Brown and say, ‘Oh, I can actually dream as big as I want.'”

As people of all ages embraced the movement, there was a palpable magic in the air.

“I just felt so inspired,” Davis said. “I got goosebumps watching everyone from the youngest, who were about five years old, to the wise ones, you know, and how all abilities were celebrated… The movement was absolutely choreographed, but there are still changes that can be made because, like I said, we move together. We don’t move in unison. So everyone is celebrated with… the dance that they bring.”