BOOP! Original Broadway Cast Recording Thread- Page 2

[Robbie2]

Posted: 6/6/25 at 11:04am

I'm surprised this show did not catch on with families as an alternate from Aladdin & Lion King. It's cute and fun with great performances especially Jasmin as Betty, costumes, choreo!

[Ensemble1665759202]

Posted: 6/6/25 at 11:13am

I love that the orchestrations actually sound like this in the show too!

I was so disappointed finally going to see Operation Mincemeat after listening to the cast recording hundreds of times and realizing they didn't really have an orchestra for the actual show and it sounded completely different.

[colbol2005]

Posted: 6/6/25 at 12:23pm

Listening to it now. It’s FABULOUS. What a pity it and Jasmine are not being showcased at the Tonys. It genuinely makes no sense that out of the musical comedies up for best score Death Becomes Her got nominated before Boop! Certainly as a listening experience, this is SO much more tuneful.

Updated On: 6/6/25 at 12:23 PM

[RippedMan]

Posted: 6/6/25 at 12:47pm

There was a duet between the daughter and Betty. Is it in the NYC version? 

[binau]

Posted: 6/6/25 at 12:52pm

Boop should have been nominated for Best Score over either Death Becomes Her (especially) or even Maybe Happy Ending in my opinion.

I enjoy the opening number of Death Becomes Her and love for the gaze but the rest seems so unmemorable to me. 

Maybe Happy Ending works as a complete show for me but the score seems too slow and sweet for me it’s almost like a lullaby designed to put me to sleep. It works dramatically for me though and I’d still prefer it to 2/3 of Death Becomes Her score. 
 

Boop! Has some genuine magic with Jasmine’s performance, swelling/fun orchestrations that feel like a combination of classic Broadway and pop, some interesting melodies and lively dance numbers. Especially on the first few listens there are a few tracks that some might feel sound generic Broadway but it’s not as generic Broadway sounding to me as a score such as ‘some like it hot’. 

 

[JudyDenmark]

Posted: 6/6/25 at 1:47pm

RippedMan said: "There was a duet between the daughter and Betty. Is it in the NYC version?"

Yes! That’s “My Hero.” I didn’t see it in Chicago so don’t know if the song changed, but that’s a duet between Betty and Trisha.

And will echo the other comments about how fabulous this recording sounds. Absolute travesty that it wasn’t nominated for Best Score - there are SO many gems.

[RippedMan]

Posted: 6/6/25 at 3:42pm

I don't think that's the one! Darn, I really liked that song, but looks like it might have gotten cut. 

[EDSOSLO858]

Posted: 6/6/25 at 4:18pm

I could've done without a couple of the signature Foster power ballads at certain moments, but overall this is a solid jazz-pop album for a musical that got less respect in NY than I had imagined.

I hope this is only the start for Jasmine. Masterful work here. "A Little Versatility" is one of the best opening numbers I've heard in some time.

If JUST IN TIME stays open after Groff's departure, I would love to see Ainsley Melham play Darin. I hear the Bublé echo in "She Knocks Me Out" — strikingly similar to "It's a Beautiful Day" (which was, interestingly, co-written by Foster's daughter).

"Take It to the Next Level" SLAPS. Erich Bergen sounds like heaven.

"Where Is Betty" is giving me "Vamp!" vibes, from SOME LIKE IT HOT. Unlike that show though, the up-tempo songs all have distinct personalities and don't all sound the same.

"In Color" is the only true clunker upon first listen.

Try staying dry-eyed listening to "My Hero" and "Something to Shout About."

Something tells me this album release will be key for the future of this particular show — schools and community theaters are going to eat this up once licensed.

[ErmengardeStopSniveling]

Posted: 6/6/25 at 4:19pm

DiscoCrows said: "The orchestral depth and tap is clear as day. Incredible recording, will be on repeat with Death Becomes Her all summer. Woohoo!"

Yeah, it sounds much richer than 15 players. Really excellent work by Doug Besterman (orchestrations), Daryl Waters (music supervision), Stuart Andrews (Keybaord programmer), and the rest of the music team. I was surprised when IBDB reminded me there are only 2 strings (vln + cello), one percussion, and no guitar.

That Overture is a delight, especially the very beginning. Sometimes hard to hear these things in the theatre because people tend to whoop after the announcement as the lights go down.

BOOP and SMASH might end up being the most-licensed musicals of the season because they appeal to four-quadrant audiences, they have a lot of lead & ensemble parts, there isn't racial specificity, and they're family-appropriate.