BOOP! The Betty Boop Musical - Pre-Broadway Chicago — Page 8

Sammy232 said: "Dolly80 said: "They sure LOOK cheap though. Every damn time."

Have to give him some credit for She Loves Me, that set was glorious."

First time I can remember applause — BIG applause — for a set reveal. Was really cool.

Caught this tonight. I think it's an okay show. The biggest issue for me is that it reads 90% of the time like a children's show. From the fact it's about a cartoon, to a very basic plot (this lady wanted to be happy, but then she met a mean politician!), to the fact the best parts are a kid character and a dog puppet, to the pandering to the TikTok crowd, it just reads very children's show. It's also not helpful that the Barbie movie, about a well-loved fictional character escaping to the real world to figure out who she really is, already came out. Faith Prince and Erich Bergen are wasted in their thankless roles. That said, very good choreography, I enjoyed the songs, and the actress playing Betty is a star. More substantially they need to create some sort of urgency to end Act 1 - there is literally no tension, she just sings "Where I Wanna Be" and reveals her red dress, which was expected for a while btw (that trench did not hide it well). They need to connect Act 1 and Act 2 (which for most of it becomes about a race for mayor where Betty is used for popularity, and the love interest disappears for nearly an hour), and (at least for me) they need to clean up the Grandpa/Valentina plot line, exactly how old was she when they met 40 years ago? It seemed to me a little cringy?

I love previews! I will be seeing again to see what they change. Jerry Mitchell was in front of me, and David Foster was behind me. A real treat - just not what I had expected.

Well, I thought this was a whole lot of fun! Maybe it's because I just spent a week in NY seeing shows addressing war, antisemitism, racism, corruption, autism and death, and maybe I just needed some escapism. I enjoyed every second of this. I was bracing myself for another Devil Wears Prada or Pretty Woman, but this show delivers everything those shows didn't.

Yes, there's a similar conceit to Barbie, with a fictional woman coming to the real world, but the similarity ends there. The plot is significantly different, and where Barbie had a full-out feminist angle, Boop! includes only a couple of female-empowerment lines, then moves quickly along to more singing and dancing.

I thought the sets were pretty good, and the projections were appropriate, impressive and not distracting at all. In fact, they were used to great effect, especially in a number that involves an amusing sing-along style bouncing ball and fireworks.

There are a lot of production numbers, and I'm not complaining. It's that type of musical, and I loved the songs (both music and lyrics) and choreography. Makes me very interested in seeing what Jerry Mitchell does to Prada. The Bob Martin book contains plenty of winking, self-referential quips, including some hilarious references to how Betty can't do her cartoony physical attacks on men in the real world.

I had only minor gripes. As mentioned before, the backstory and relationship between Grampy and Valentina is underdeveloped, and the age thing is confusing. Also, Faith Prince needs more. I hope there is a way to integrate her into the plot better. I didn't mind Grampy and his storyline, since it is integral to the plot progression. And the puppy marionette is adorable. Also, as mentioned, the first act ends with an incredible showstopping number, but no real plot development to send you off to intermission. And when we return from intermission, we find that the whole world has discovered Betty's secret, which left me wondering how did that happen. The ending of the show seems a bit rushed also. But overall, I thought the show was in great shape and kept me thoroughly entertained from start to finish.

I'd love to describe some of the plot points and scenes, but don't want to give anything away. The overall show had a bit of a Hairspray feel to it. In fact, Grampy and Valentina have a duet in the second act that is very, very similar to Timeless To Me, right down to the choreography. Also, Faith Prince has a number in the first act about how you can get physical ailments from love, which is heavily reminiscent of Adelaide's Lament.

Finally, Jasmine Amy Rogers is a freaking superstar! Her singing, dancing, characterization, and acting, both comedic and dramatic, were spot on. I hope to see her a lot in the future. WOW!

I'm going to eagerly return to this in a few weeks to see if there are any noticeable changes, but I don't think it needs many.

Updated On: 11/22/23 at 10:29 AM

Truthfully I didn’t think about Barbie at all. But yes I hate any mention of TikTok. Feels like it’ll just date the show.

That’s fair. I just think we could do without any mention. All you have to do is add some hushed talking and everyone on their phone looking at each other at the end of Act 1 to convey that the news is out about Betty.

Caught it last night, and the good news is that there's definitely a viable show here, but they're going to have to do some work if they want it to be a pretty good/great show. Totally fixable - probably not by the end of the Chicago run, but definitely before it moves to Broadway (for I presume next season).

The good news, as others have mentioned, is that Jasmine Amy Rogers is a star. She understands what she needs to do as the character, executes pretty flawlessly, and whenever she's not the focal point on stage the show starts to drag and fall apart at the seems. The friend I was with is much more versed in the Boop shorts than I am (which isn't a requirement, but you do get more out of the show if you know the source material I am told), and said she was the perfect blend of homage to the original character and making it her own.

There are also some solid songs here. The audience went nuts for Where I Wanna Be right at the start of it, so I'm guessing the social media work has reached folks and they are into the song. Why Look Around the Corner is a good one too - although it doesn't quite work as a love song for reasons I'll get into in a minute, and the opener A Littler Versatility is a solid introduction to Betty and her place in her world. The Grampy songs and the Faith Prince songs are duds. From the press, it sounds like David Foster is ready and willing to rewrite even here in Chicago, so I trust this part can get cleaned up as needed.

The real issue with the show is, unfortunately, the book. The central premise of the show - at least as we're told at the beginning - is that Betty is stressed and wants to go somewhere where no one knows her for a break. Great, that works. Only, when she leaves, Grampy freaks out and says that the Cartoon World will fall apart without her there, so he needs to get her back. Ok, also a good level of stakes. Then they both end up in our world, Betty get drawn into several subplots (romance, mentoring a kid, helping a sleazy politician then working against him) none of which have enough time to breathe let alone create characters with any personality, and Grampy ends up sidelined with Faith Prince's character who he had a romance with 40 years ago (when she was 20-something and he was still Grampy...which is weird), whereupon he fully forgets that he needs to get Betty back to save Cartoon World. And the show forgets that too - we never see the devastation Betty missing causes, no one really talks about how things are falling apart (there's a number where the boyfriend Dwayne and two Cartoon guys sing about her bringing Sunshine, which would work better if they dropped the boyfriend portion and had the Cartoon folks sing about how she brings sunshine and now it's disappearing or something). Only at the end, very abruptly, are we reminded that Betty needs to leave immediately, and she just does.

My friend and I were spitballing ideas at intermission and thought perhaps the sleazy politician could be a villain who escaped from Cartoon World (since his sole purpose in Act Two ended up being giving Betty a chance to talk about how hard it is for a woman and knock him over the head - which someone mentioned was Barbie-like, although Barbie did it 100x better). He could tie back to the main stakes of the story - the Cartoon World is in trouble - by keeping Betty from getting out? Or maybe Faith Prince as a villain who distracts Grampy from completing his mission for a bit? There needs to be something more than just randomly tied together characters in the real world.

And while they're revamping, they need to look at cutting characters and making it more focused. Right now, the duel arcs of the boyfriend option and the kid are at odds in a way that makes the boyfriend a character without any real oomph and the kid a more interesting one. Which is fine, but if the boyfriend keeps popping up and we're supposed to believe Betty loves him, he needs more personality than "I like Jazz." (Seriously, that's his entire character.). Flesh him out in real ways, give him some depth. We love Betty and want her with someone who is as amazing as her.

The video sets work well for the Cartoon World sections, but are very blah for the real world. And the physical sets are the same way, which is a bummer. It makes you wish we spent more time in the Cartoon World and less in the real world.

But this is fixable if they do the work. The audience at it up (except for the two Faith Prince songs, unfortunately - it's such waste of her), and there were a lot of kids in the audience who loved it, if the post-show conversations were to be believed. It definitely plays as more for kids than adults at the moment, but I'm intrigued to see where this one ends up after some reworking.

As the seats in the balcony are easy on the budget, I’m happy to report that the orchestra has sounded great at the first 3 performances. I especially like the soaring French horn, the muted trumpet licks, the swelling strings, and incidental passages.

Every scene change has been seamless, effortlessly floating from one moment to the next.

After a few songs end, the audience applauds, and as the scene begins to change, we hear a brief, immediate reprise. There’s a second round of applause as we are whisked away to the next scene.

Like others have mentioned, the show has a few book holes, but the escapism is top drawer.

The show’s chauvinistic villain, played by Erich Bergen, first appears in one of the top-of-show black and white scenes, getting boinked in the head by Betty with a lamp. The altercation pops up for real in Act 2 when Bergen’s slimy politician character places advances on Boop.

Though likely not real, I like imagining the nods to past Broadway classics in some of the Boop staging: the dancers atop round coins of 42nd Street, the Favorite Son staircase moments of Will Rogers Follies, and the sweeping full-stage dance of the King and I.

Valentina and Grampy’s dance in Act 2 needs more of this stage magic.

At the first 3 performances, early arriving guests - likely around 200 - have been treated to a Boop tote bag. At the Tuesday, November 21 performance, balconygoers were treated to free upgrades to rear orchestra and dress circle.

Updated On: 11/24/23 at 10:32 AM

I wonder if they'll change any of the songs as previews continue and after tryouts before New York.

I was skeptical going in, but HOLY TOLEDO! This is one star making turn.

Remember when you first saw Sutton in TMM? Well, Jasmine Amy Rogers is a phenomenon.

The entire cast is so solid, both featured and ensemble. I wish the program was more specific with some of the cast. The Director and his assistant are both very fun and featured, both with lovely voices yet listed as ensemble. They both deserve credit, especially since they sing one of the more beautiful songs in the show.

The first act is near perfection. Second act needs some work plot wise, but nothing that can’t be fixed

Jerry’s choreography is fresh and original, and some really great directing choices.
Foster’s score is fun and lively.

This is the best tryout I have seen in Chicago.

(But please give Faith Prince a new look. She doesn’t deserve that costume or wig.)

BoringBoredBoard40 said: "this is going into the Broadway theater as its next tenant after Here Lies Love"

Good luck to this production trying to fill this size house. This seems like a crazy choice - I would guess it's their only option?

I caught the show last week, and I must admit, this one wasn't for me. I went in with zero expectations and had pretty limited knowledge of Betty Boop, so I guess take that as you will.

The show was very projection heavy (and at times came across as lazy, in my opinion) and there were moments where I felt like I was watching a tour version of a show. There is some fun stage magic, but it never felt like the show was firing on all cylinders. That being said, Jasmine Amy Rogers is a star and I very much hope this is a breakout moment for her.

I'm interested to read the reviews and reception for this as it makes it's journey to Broadway. I kept asking myself, "who is this for?" That being said, there were people around me who were very moved by the show and commented as such as we were leaving the theater.

All the talk on here seems to be that it's good but needs work. Why would they rush into Broadway this season? I was thinking Dear England would take the Broadway Theatre. I saw one of the numbers with the men in black dancing behind Betty and it looked wonderful.

I think it's also Mitchell. This show should feel bigger, lusher, and more tech heavy than it does. But that's not really his wheel house. Like the fact that the floor is just black makes it all feel very cheap and ready to tour.