BOOP, BOOP, FIZZ — Page 3

TheatreFan4 said: "JudyDenmark said: "But seeing the trailer from Chicago, and what afun dance-heavy spectacle it is, and the catchy song they're promoting, and the creativity of the black & white world vs.colorful real world... that sold me and I bought a ticket. It looks like a good old-fashioned Broadway spectacle designed solely to put a smile on your face.

I hope this surprises everyone and is well-received!"

See, this is where I'm confused a bit because I don't see a "good old-fashioned Broadway spectacle" I see something pretty small. The sets are minimal, the staircase used in the finale just seems... TINY. Its giving the iconic stairs of 42nd Street with absolutely none of the grandeur. Every promo has just the one song that (for me) has turned from an ear worm to annoying."

Maybe spectacle isn't the right word set design wise (though TBD what they're changing for Broadway) but as someone else said I'm getting Some Like It Hot vibes, and I loved that show. The country/world is currently a dumpster fire - frankly I'm craving a purely escapist, splashy, happy Jerry Mitchell show right now and I'm looking forward to seeing this.

TheatreFan4 said: "Ensemble1665759202 said: "TheatreFan4 said: "Ensemble1665759202 said: "It's not an original musical? I thought it was"

Betty Boop has been around since the 30s?"

And Hamilton has been around since1755. Just because it's not an original character doesn't mean the musical isn't original."

Got it. Alexander Hamilton was an actual person, Betty Boop and the associated characters were created by Max Fleischer. An original musical is one not based on an intellectual property which Betty Boop is. Alexander Hamilton and US History is not."

HAMILTON is based on a book by Ron Chernow. A book is, technically, intellectual property, even if it is not IP that sells tickets.

Throughout the history of Broadway there have been many a good & bad musical based on previously existing material, and many a good & bad musical conjured directly from the brain of the composer/librettist.