BOOP! Previews- Page 5

[mrshowbiz90210]

Posted: 3/14/25 at 12:36pm

KJisgroovy said: "I didn't really likeBarbiea "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... butit was incredibly successful at what it set out to do artistically.

 

Barbie was a once in a lifetime phenomenon that was a product of marketing and a real lack of competition at the time. Beyond that it was a terrible movie with manipulative characters and oversaturated graphics that look like a clown threw up

 


"

 

[Cape Twirl of Doom]

Posted: 3/14/25 at 1:17pm

Listener said: "Barbie was a weird misfire, "

Yup, $1 billion at the box office and a Best Picture nomination. Such a misfire.

[mrshowbiz90210]

Posted: 3/14/25 at 1:21pm

Cape Twirl of Doom said: "Listener said: "Barbie was a weird misfire, "
Yup, $1 billion at the box office and a Best Picture nomination. Such a misfire. "

If you knew anything about the film industry… The box office is irrelevant given how much money they spent on marketing… Yes The movie made money… And the Oscar nomination means absolutely nothing look at this year’s lineup… When you have a film like Anora -  junk… That wins best picture… It all means nothing… Barbie will not be remembered in the history of film as anything but a moment in time

Updated On: 3/14/25 at 01:21 PM

[TotallyEffed]

Posted: 3/14/25 at 1:26pm

Barbie was terrible and already feels long forgotten.

[Cape Twirl of Doom]

Posted: 3/14/25 at 1:50pm

Ah, just found the block feature. Wow this thread just got a whole lot better!

[AKarp2013]

Posted: 3/14/25 at 1:52pm

What this board feels like 89% of the time:

 

[FosseTharp]

Posted: 3/14/25 at 4:02pm

Cape Twirl of Doom said: "Ah, just found the block feature. Wow this thread just got a whole lot better!"

 

WHERE IS IT?! There are quite a few posters Id like to block  real bad. I used to just scroll past posts from certain people but now I’m ready to take advantage of the block!

Can it be accessed from the app or do you need to be on the website because for some reason I can’t log in on the website saying my password and email are wrong. 

 

[Cape Twirl of Doom]

Posted: 3/14/25 at 5:10pm

FosseTharp said: "Cape Twirl of Doom said: "Ah, just found the block feature. Wow this thread just got a whole lot better!"



WHERE IS IT?! There are quite a few posters Id like to block real bad. I used to just scroll past posts from certain people but now I’m ready to take advantage of the block!

Can it be accessed from the app or do you need to be on the website because for some reason I can’t log in on the website saying my password and email are wrong.

"

I don't know about the app, I only use the website on my phone, but if you go to your Account and go to Settings, there is an option under Message Board that says "Block Message Board Users." You'll have to paste in the name of the user you want to block.

[Kad]

Posted: 3/14/25 at 5:18pm

Here’s a direct link to the block feature. 

[mrshowbiz90210]

Posted: 3/14/25 at 5:48pm

Kad said: "Here’s a direct link to the block feature."

Good work Kad - I just blocked you. A small tip, turn your frown upside down! 

[Dan6]

Posted: 3/14/25 at 6:08pm

Kad said: "Here’s a direct link to the block feature."

Thank you! Thread just got a whole lot more interesting…and a lot shorter. 

[CukorLover]

Posted: 3/14/25 at 6:56pm

BOOP last night...

An assault on the senses. 

BOOP! The Musical steamrolls onto Broadway like a high-speed Bullet train! With such ferocity, one would think the cast would be fired if not giving 125%. Director Jerry Mitchell’s frenetic direction comes at you fast and furious.

This cast is working at warp speed to give life to a sometimes funny, sometimes not book by Bob Martin.

Kudos to Jasmine Amy Rogers (Boop) for navigating the difficult balance between character, caricature and cartoon. She’s a real find and terrific here. A true triple threat! If only she was given more stage time and something better to work with, especially in a meandering 2nd Act.

A big disappointment is the lack of chemistry between Rogers and Ainsley Melham as love interest Dwayne. In spite of Melham's talent (he can sing and dance), he's a bit of a bore, and drags down every scene he is in. When Erich Bergen, who plays a sleazy mayoral candidate has more stage presence and pizazz than your leading man, you may want to reconsider your casting choice. Playing opposite Rogers’ larger than life star turn is a big assignment. Big!

Tony-winner Faith Prince and supporting players Stephen DeRosa, Angelica Hale, and Anastacia McCleskey are fine, and each have their moment to shine.

Rogers deliciously delivers on composer David Foster’s “Where I Want To Be’ and “Something to Shout About,” yet the rest of the score is merely serviceable. The orchestra is led by Rick Fox and is terrific.

The production numbers look like they were choreographed by different people, resulting in a mash-up of slapdash movement performed with community theatre-like gusto by the NYC denizens. Showcasing the Red Stairs in Times Square and not utilizing them to better effect was an epic fail in the choreography department. The old idiom “too many cooks…” applies here.

Scenic design by David Rockwell and lighting by Philip S. Rosenberg add zest to the colorful palette of this cartoon short in search of a feature film.

Updated On: 3/15/25 at 06:56 PM

[KitKatBoy24]

Posted: 3/15/25 at 12:37am

I was quite surprised with how much I liked Boop. I can echo this statement - Jasmine Rogers is an absolute star. She’s sensational in the role. If I were in charge I’d cut even more of the supporting stuff and really focus on her.

I felt like Faith Prince and DeRosa’s roles were small enough to be enjoyable but properly supporting. The biggest cuts could come from Hale’s role as the girl that finds Betty Boop in NY. She should really just be used as a plot device to introduce Betty to her love interest (a delightful Ainsley Melham), and her villain (an enjoyable Erich Bergen). Instead we get a whole solo from the girl and a duet - they’re trying to set up Betty as this girl’s feminist idol… but we don’t need that. We understand that relationship within their first interaction together. Focus on Betty’s wants and Betty’s conflicts.

Therefore we get a very rushed act two that could’ve fleshed out Betty even more and really earned her the 11 o’clock number. Her 11 o’clock number is called something like “Something to Shout About” and that phrase seems random. It’s almost like that’s simply what they wanted to call the song and it’s not a goal that Betty learned during the second act. Have her love interest teach her that he loves Jazz music because it feels like he’s shouting his feelings out to the world. Have the lady who ends up running for mayor teach Betty that you need to be loud and stand up for what’s right in the world. Have her learn something that justifies a song called “Something to Shout About.”

And, selfishly, I wanted the finale to be a huge tap number. I wanted big celebratory feel-good dance breaks in that finale, but I felt like we didn’t have time because we had to hear Hale’s character sing more. Cut Hale’s role down and give Betty some motivation to justify her 11 o’clock number and then give us a huge celebratory finale and you’ve a hit show.  

I really, really liked Boop. My critiques are out of enthusiasm for how this show can go from good to incredible. I’m excited to see it again after opening and see how it’s grown. Regardless, this is a really lovely night at the theatre 

 

Updated On: 3/15/25 at 12:37 AM

[Listener]

Posted: 3/15/25 at 1:53am

Sutton Ross said: "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

Lolz. Yeah, none of that is true, it was a global sensation for a reason and did, in fact, have a deeper meaning if you were actually paying attention. There was a reason generations of women were in the theater all together. It was powerful and incredible, and it would not have had the success it hadif it "fell short on both counts". But, you only complimenting the man in the film tells me alllll I need to know about you."

...what?

What I said was that comparing BOOP to a combo of NY, NY and Barbie was damning praise. I didn't make some personal attack against anyone. And I didn't miss anything in Barbie. Everything in there was stated very overtly and in bold lettering. That's why I said there was no deeper meaning. The film was in no way subtle about anything.

...but now, according to you, I'm some misogynist/woman hater/moron who can't understand film scripts because I thought Ken was the best part of the Barbie movie? Seriously?

Look, we can have differing opinions about shows and composers and actors and movies and whatever else without clawing at one another and tearing each other down...can't we?

Is this message board past the point of no return now? Is it really so much fun to just insult each other rather than discuss Broadway? Is that seriously the point now? To call each other names and block each other and then act all cheery about it?

I don't come here for that. I literally just like to talk about the shows. Let's...get it together here people. Reading the reviews and stories here used to be fun but there's a lot of ugliness around these parts now.

Anyway, glad to hear the leading lady in this show is having her moment.

[mrshowbiz90210]

Posted: 3/15/25 at 2:02am

Listener said: "Sutton Ross said: "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

Lolz. Yeah, none of that is true, it was a global sensation for a reason and did, in fact, have a deeper meaning if you were actually paying attention. There was a reason generations of women were in the theater all together. It was powerful and incredible, and it would not have had the success it hadif it "fell short on both counts". But, you only complimenting the man in the film tells me alllll I need to know about you."

...what?

What I said was that comparing BOOP to a combo of NY, NY and Barbie was damning praise. I didn't make some personal attack against anyone. And I didn't miss anything in Barbie. Everything in there was stated very overtly and in bold lettering. That's why I said there was no deeper meaning. The film was in no way subtle about anything.

...but now, according to you, I'm some misogynist/woman hater/moron who can't understand film scripts because I thought Ken was the best part of the Barbie movie? Seriously?

Look, we can have differing opinions about shows and composers and actors and movies and whatever else without clawing at one another and tearing each other down...can't we?

Is this message board past the point of no return now? Is it really so much fun to just insult each other rather than discuss Broadway? Is that seriously the point now? To call each other names and block each other and then act all cheery about it?

I don't come here for that. I literally just like to talk about the shows. Let's...get it together here people. Reading the reviews and stories here used to be fun but there's a lot of ugliness around these parts now.

Anyway, glad to hear the leading lady in this show is having her moment."


thank you!!!! Finally!!! Lord help  you if you dislike  like a show!!! This community of bullies is too much! Boop! Will never be a good show - get over your damn selves - mic drop  - 

 

 

[Wayman_Wong]

Posted: 3/15/25 at 2:40am

''Rogers deliciously delivers on composer Stephen Foster’s “Where I Want To Be’ and “Something to Shout About,” yet the rest of the score is merely serviceable.''

I enjoyed this review, but this was an amusing mixup of composers. David Foster is the Grammy-winning producer-songwriter who's worked with Whitney Houston and Celine Dion, and written the music for ''Boop!'' ... Stephen Foster, on the other hand, is the 19th-century ''father of American music'' who wrote classics, like ''Oh, Susanna,'' ''Beautiful Dreamer,'' ''Old Folks at Home'' (''Swanee River'' ), etc.

 

Updated On: 3/15/25 at 02:40 AM

[CukorLover]

Posted: 3/15/25 at 9:22am

Wayman_Wong said: "''Rogers deliciously delivers on composer Stephen Foster’s “Where I Want To Be’ and “Something to Shout About,” yet the rest of the score is merely serviceable.''

I enjoyed this review,but this was an amusing mixup of composers. David Foster is the Grammy-winning producer-songwriter who's worked with Whitney Houston and Celine Dion, and written the music for ''Boop!'' ... Stephen Foster, on the other hand, is the 19th-century ''father of American music'' who wrote classics, like ''Oh, Susanna,'' ''Beautiful Dreamer,'' ''Old Folks at Home'' (''Swanee River'' ), etc.

Dear Wayman,

Thanks for catching my Foster faux pas! I made the correction. It was a very loud and raucous crowd the night I saw the show and I guess I got confused. After all, Stephen Foster did write ""Camptown Races" with an emphasis on the "Camp?" LOL.

[EDSOSLO858]

Posted: 3/15/25 at 9:32pm

The band has started to lay down tracks for the cast album!

[Ensemble1665759202]

Posted: 3/15/25 at 9:36pm

EDSOSLO858 said: "The band has started to laydown tracks for the cast album!"

Excited to hear this! I particularly liked the orchestrations for "Get Her Back", and am excited to have cast recordings of "Whatever It Takes", "She Knocks Me Out" and "Why Look Around the Corner?"

[yyys]

Posted: 3/16/25 at 10:26am

Agreed with kitkatboy24, they need to get rid of the kid after their initial meeting. Just too much screen time and songs. I also don't think the score will get nominated for a Tony. 

[Ensemble1665759202]

Posted: 3/16/25 at 10:45am

This Betty Boop is Broadway's newest star - NPR

[mrshowbiz90210]

Posted: 3/16/25 at 12:34pm

Ensemble1665759202 said: "EDSOSLO858 said: "The band has started to laydown tracks for the cast album!"

Excited to hear this! I particularly liked the orchestrations for "Get Her Back", and am excited to have cast recordings of "Whatever It Takes", "She Knocks Me Out" and "Why Look Around the Corner?""


aside from the history of having a cast album and the shows legacy… I never understand the allocation of money specifically for a show that is struggling and not destined to succeed. Yes,  there will be The love specific pieces of the score… But I don’t think this justifies the money for a cast album. 

 

 

[mrshowbiz90210]

Posted: 3/16/25 at 12:36pm

Ensemble1665759202 said: "This Betty Boop is Broadway's newest star- NPR"

Quoting a Broadway review from NPR, is the equivalent of quoting someone that works at Showbiz 411. Straw grasping  darling 

[uncageg]

Posted: 3/16/25 at 12:59pm

mrshowbiz90210 said: "Ensemble1665759202 said: "EDSOSLO858 said: "The band has started to laydown tracks for the cast album!"

Excited to hear this! I particularly liked the orchestrations for "Get Her Back", and am excited to have cast recordings of "Whatever It Takes", "She Knocks Me Out" and "Why Look Around the Corner?""


aside from the history of having a cast album and the shows legacy… I never understand the allocation of money specifically for a show that is struggling and not destined to succeed. Yes, there will be The love specific pieces of the score… But I don’t think this justifies the money for a cast album.

 

Because it costs money to record the music and preserve the history and legacy of a musical.



"

 

[ErmengardeStopSniveling]

Posted: 3/16/25 at 1:40pm

If a musical doesn't have a cast album, there's barely any chance of it getting licensed.

Simple as that.

Some shows build the cast album into the capitalization of the show, some fund it separately. Every show is different.

A super small show might get away with doing it for as little as $150K. Something like BOOP probably costs double that or more, and when you have a pop writer with deep music industry relationships it can be easier to get an album financed. At the end of the day it's a nominal investment that they'll probably see a return on over the next 20 years because of licensing.

A revival is different because the licensing needs are different. And that can make it harder to fund if not part of the capitalization. GYPSY doesn't benefit licensing at all, it's just a recorded document of Audra's performance. (Is an album even in the works??)