kurtal said: "I get the most frustrated with shows that I can see the potential in but that don't come anywhere near to living up to it.”
This! I saw the show in Chicago and thought it had a lot of potential. Reading the reactions to the Broadway production have been disappointing. There were so many simple and obvious ways they could have fixed the book without massive overhauls to the score or production. Worst case scenario, Faith Prince gets cut.
Why? Laziness? They confused "anodyne" for "family friendly"? One of the producers preferred the unnecessary subplots to the actual source material?
To me, the most obvious thing that had to change:
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When Betty is revealed to the "real world," she's greeted as a major celebrity with the power to influence the entire city. While in the actual real world, most of the people in the audience have a vague familiarity with the IP at best. It would have been hilarious and interesting if Betty comes on strong in the "real world" only to be greeted with indifference and cynicism. That would have given her teenage fan an invested interest in acting as a champion for Betty's positivity, which would have created more narrative drive for Act II.
The missed opportunities are depressing, which is even worse considering the show is supposed to celebrate the power of creativity and ingenuity.
Best case scenario for this show, Jasmine Amy Rogers becomes a massive Broadway star and "Boop!" is an interesting footnote in her bio. Or maybe the show can be retooled after closing to become a regional and licensing hit, ala "Seussical." Or maybe story no longer matters in a Broadway musical and this show will coast on a relatively good score, the incredible lead performance, and a breezy design.
Updated On: 3/27/25 at 04:10 PM