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Betty Boop, The Musical – A Beautifully Designed,

 

Confusingly Told Tale There’s potential in Betty Boop, The Musical—flashes of brilliance that hint at what could have been. Unfortunately, there’s just too much that needs fixing, and not nearly enough time in previews to address it all.

The biggest issue? The show spends too much time on the wrong things. For a story about a beloved cartoon character whose dimension is at risk of disappearing, why is the main conflict centered around the mayor of New York City?

The stakes are set up—Betty’s world will crumble without her—but the show barely lets us see that world in disarray. But instead of leaning into that chaos, the focus shifts to a dull, drawn-out subplot about a corrupt politician and a secondary romance that adds little to the emotional core of the show.

Faith Prince, a Broadway legend, is completely underutilized, and Act II loses the spark of its first half. Jasmine is an undeniable star, carrying much of Act I with her presence. But even she can’t fully salvage a show that feels structurally messy. The pacing drags, especially in the second act, and while there are some fantastic musical moments (mainly the act closers), they’re outnumbered by forgettable numbers that do little to push the story forward.

The dancing is solid, as expected from Jerry Mitchell, and the tap numbers are a highlight, but even clever choreography can’t make up for a story that never quite decides what it wants to be.

And then there’s Erich Bergen as Raymond. Unfortunately, he’s the weakest link in the cast. While he’s certainly pretty, his performance lacks both the acting chops and vocal ability needed to bring the character to life.

In a show that relies on larger-than-life personalities, his presence feels flat. Visually, however, the show soars. The lighting, costumes, and use of color are pure genius. Rarely does an audience respond so strongly to these elements alone, proving that the design team understood the assignment even if the book didn’t.

And then there’s the sister character—hyperfixated on Betty Boop in a way that feels odd, even within the show’s world-building. Betty Boop, for all her nostalgic charm, hasn’t been truly relevant in decades, and the script does little to justify why she holds such an intense cultural grip over this character. At its best, Betty Boop,

The Musical feels like a mash-up of Barbie and New York, New York—which sounds promising, but in execution, it leans too heavily on New York’s grittiness rather than embracing the vibrant weirdness that makes Betty’s world so fun. There’s a great show buried in here somewhere, but right now, it’s lost in the shuffle.

BETTY22 said: "Betty Boop, The Musical – A Beautifully Designed,



Confusingly Told Tale There’s potential in Betty Boop, The Musical—flashes of brilliance that hint at what could have been. Unfortunately, there’s just too much that needs fixing, and not nearly enough time in previews to address it all.

The biggest issue? The show spends too much time on the wrong things. For a story about a beloved cartoon character whose dimension is at risk of disappearing, why is the main conflict centered around the mayor of New York City?

The stakes are set up—Betty’s world will crumble without her—but the show barely lets us see that world in disarray. But instead of leaning into that chaos, the focus shifts to a dull, drawn-out subplot about a corrupt politician and a secondary romance that adds little to the emotional core of the show.

Faith Prince, a Broadway legend, is completely underutilized, and Act II loses the spark of its first half. Jasmine is an undeniable star, carrying much of Act I with her presence. But even she can’t fully salvage a show that feels structurally messy. The pacing drags, especially in the second act, and while there are some fantastic musical moments (mainly the act closers), they’re outnumbered by forgettable numbers that do little to push the story forward.

The dancing is solid, as expected from Jerry Mitchell, and the tap numbers are a highlight, but even clever choreography can’t make up for a story that never quite decides what it wants to be.

And then there’s Erich Bergen as Raymond. Unfortunately, he’s the weakest link in the cast. While he’s certainly pretty, his performance lacks both the acting chops and vocal ability needed to bring the character to life.

In a show that relies on larger-than-life personalities, his presence feels flat. Visually, however, the show soars. The lighting, costumes, and use of color are pure genius. Rarely does an audience respond so strongly to these elements alone, proving that the design team understood the assignment even if the book didn’t.

And then there’s the sister character—hyperfixated on Betty Boop in a way that feels odd, even within the show’s world-building. Betty Boop, for all her nostalgic charm, hasn’t been truly relevant in decades, and the script does little to justify why she holds such an intense cultural grip over this character. At its best, Betty Boop,

The Musical feels like a mash-up of Barbie and New York, New York—which sounds promising, but in execution, it leans too heavily on New York’s grittiness rather than embracing the vibrant weirdness that makes Betty’s world so fun. There’s a great show buried in here somewhere, but right now, it’s lost in the shuffle."

Very well said… Be prepared for the on slot of haters who do not like anybody posting about negative reviews… You might have to start your own threat… But I agree it is a mash up… Which is typical of fosters music style… It’s like being in an elevator on your way up to the 80th floor

merle57 said: "I agree with your review. Lots of good individual elements, especially design elements, but the show itself does not hold together and the score is too genertic. Reminded me of Bullets on Broadway or New York, New York -- 30 million thrown at the audience in costumes, sets, lights, effects, but no show at thecore. Since the problems are structural, doubtful it can be fully fixed before opening, but more money will be thrown at it. It will probably run on the glitz for a while because ofseveral good performances, but it is a show that should not have been."

I liked the score a lot. Finally, a new musical, not another revival, or a weakly plotted jukebox retread, or a movie desecrated with a generic mediocre score. Broadway needs more original new musicals. We need more new shows, so good luck to this season's newest show.

mrshowbiz90210, I don't think the problem is the idea of giving negative reviews it's just that for some strange reason people such as yourself get obsessed with trashing individual shows over and over again and they can't stop.

It's especially strange when they claim to know people who work on the show AND have seen it multiple times in multiple cities because it just doesn't compute with a typical understanding of how people navigate those dynamics. For example, even if it's well known inside the tent so to speak that the show has problems I wouldn't say it's common for someone to publicly trash it because the people are still trying to protect the longevity of their own jobs and reputation of their show as much as possible. 

It's also easy to decline an offer to see the show again, and again if you don't enjoy it. 

And yet Here We Are. 

Updated On: 3/13/25 at 04:24 PM

VernonGersch said: "I wish everyone well but David Foster is a Trumper and will not support anything with his name on it. He is a miserable human."

Is he?  I know he was friends or friendly with Trump in the past and did a cancer benefit concert at Marla, but he did support Clinton during Trump's first run (and turned down an offer to organize Trump's inauguration) and I haven't heard anything since then.  I mean I've never been a big fan (growing up in Victoria BC as a kid I did perform in a few of the huge benefit concerts he'd do here--as this was one of the cities he grew up in) and I have no doubt I wouldn't agree with his politics, but he doesn't seem to have done anything to show himself as a Trumper?

Does anyone have a song list?

Is there a way to put this entire effing thread on ignore so I can scroll through the other ones without being reminded of this idiocy?

lol I’m here now. 

It’s very aesthetically cute but honestly, this is the exact same plot as the Barbie movie. Nothing crazy. 

Kad said: "For godssake, mrshowbiz90210 is not here for a good faith discussion. You will not have a rational discussion with them, you will not persuade them, you will not find logic in what they are saying. They are a troll who has a singular focus on this show to the exclusion of every other topic. Block them, starve them of attention, and make your lives easier."


 

oh Kad . It is you that keeps responding, lord love ya child! Have some fun, spill some wine, be boopy darling! 

 

I am so confounded by this show, which shows a New York where everyone is constantly thinking about Betty Boop and jazz and campaign managers can suddenly become the mayor 

Jasmine’s great and it’s flashy fun but hoooo those songs are BLAND

Updated On: 3/13/25 at 11:17 PM

At its best, Betty Boop, The Musical feels like a mash-up of Barbie and New York, New York—which sounds promising...

 

...to whom?

Barbie was a weird misfire, but given how lackluster movies have been lately (and how much fun Ken was in the picture) it was praised to the heavens even though it made little sense and fixated on creating some deeper meaning that never added up to much. It could have been more fun, or had something profound to say, but fell short on both counts.

And New York, New York was a mystifying bomb.

So...yeah, combining the two does not sound promising. Talk about damning praise!

Barbie was a weird misfire, but given how lackluster movies have been lately (and how much fun Ken was in the picture) it was praised to the heavens even though it made little sense and fixated on creating some deeper meaning that never added up to much. It could have been more fun, or had something profound to say, but fell short on both counts."

Love when people present the dumbest opinions as fact.

I didn't really like Barbie a "misfire" is incredibly bizarre given its critical and financial success. Also. Again, I didn't like it, but it was incredibly successful at what it set out to do artistically. I didn't think it was terribly interesting or original in what it was trying to do... but it was incredibly successful at what it set out to do artistically.