BOOP! The Betty Boop Musical - Pre-Broadway Chicago — Page 9

RippedMan said: "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."

Agreed! The red Time Square steps with the projections disappointed me. The stage never felt full or busy.

Week two of 5 has started and there are no major changes to report. Just a few tweaks since Friday.

During the last few stanzas of GET HER BACK, Grampy has added a black hat before his teleportation to current day.

In Times Square, Ironman had initially appeared with his mask pulled up, resting atop his head. Ironman now arrives with his headgear fully on.

In A CURE FOR LOVE, when Valentina shakes her booty, dog Pudgy now shakes his booty, too.

I wonder if the closing bows will change. It’s great that the bows begin with individual bows from the majority of the Ensemble. A great way to thank each individual performer.

But next, there is a line of 5 Ensemble members who have meatier parts who do one collective bow - the Director and Assistant Director from the black and white scenes, as well as Ironman and 2 other mascots. Perhaps their position in the order of bows is enough recognition.

Updated On: 11/29/23 at 10:09 AM

ucjrdude902 said: "I have to wonder if the show is frozen at least in Chicago but they're taking notes and planning to make any significant changes during the long hiatus to Broadway? Isn't it expected to take a bit to make it to the great white way?"

I would think late fall or sometime in the spring, which would help them if they really want time to work.

Many of the Ensemble members have posted on their Instagram stories about changes being made, and a few have even shown the "Show Changes" folder and notes they receive each morning when they sign in. Based on the looks of it, changes are certainly happening.

It takes time to implement changes. Once the new material is identified as needed, it has to be written & rehearsed, orchestrated, designed, and re-teched. It takes a ton of effort to make even small changes in a big, modern show, and if they don't implement it carefully there could be huge safety problems. We also just had a holiday week when there might have been fewer rehearsals, or creative team out of town. Sometimes they also see problems out of town and say "this is too big to change now but we know we want to implement it later."

The song is all about living your life in color do hence the colors. The show is not garish throughout though. I enjoyed it for what it was. It needs some work but the meat that is there is good.

Lola Getz2 said: "I also heard they are waiting for the Broadhurst. Has there been an official announcement for the Shubert?"

Nothing has been announced for the Shubert, and no closing date –– YET –– for A Beautiful Noise. The Broadhurst certainly makes more sense than the Broadway, though that 18-piece orchestra in Chicago might be a little much for the Bhurst.

dramamama611 said: "I am truly interested in this. I love all the positive comments about Jasmine Amy Rogers are very exciting. BUT....oy the colors on stage at what I think is the finale/curtain calls? Really hurt my eyes.

Can anyone tell me if the show is this garish the entire run or is it a plot device (like going from b&w to full color in Wizard of Oz) and only at the end?"

Hello DramaMama:

Six of the songs are presented in black and white:

• A Little Versatility
• Ordinary Day
• Get Her Back
• the opening of Sunlight
• parts of She's Here
• Something to Shout About

The remainder of the show is in color. The Finale certainly has the boldest use of color.

Updated On: 12/2/23 at 09:11 AM

BalconyClub said: "Two new songs appear in Act Two: SHE KNOCKS ME OUT sung by Dwayne and THE COLOR OF LOVE (guessing on both titles) by the Company. Dwayne’s number appears in the nightclub set that is seen earlier in the show.

The previous finale number YOU TURNED MY WORLD TO COLOR has morphed into THE COLOR OF LOVE. A similar yet different tune with the same tempo. Much of the new number's choreography is the same. But so much is new at the end of Act 2 that I may not be remembering this correctly.

WIN WITH BETTY has been shortened - removing the scenic references to Coney Island, Yankee Stadium, and the Staten Island Ferry. The Nathan’s vendor has been removed. The awkward hotdog has been erased. The show’s second appearance of the gray, metal crowd control barricade has vanished - though the Ensemble is still behind an imaginary one at the top of the number. New blocking is likely in the works.

Friday night’s show had over a dozen small changes, too. New lines by both mayoral candidates Raymond Demarest (farewell NPR, hello women lawyers) and Carol Evans (farewell getting your hair done). The ugly sofa and banker's boxes are gone from Trisha and Dwayne’s green-walled home. The line about NY’s 8.5 million residents is gone. There are a few changed lines atop the 42nd Street coins (farewell Mom, hello Broadway). We learn the origin of the item in Dwayne's pocket. At the end of WIN WITH BETTY, Boop joins the exit line.

Before Boop's SOMETHING TO SHOUT ABOUT, white lights hit the audience in front orchestra.

At show’s end, the instant costume change from black and white to color of yesteryear’s Director and Assistant Director has been axed. The duo now start their finale in color and have a bit of singing, too.

An audience sing-a-long of WHY LOOK AROUND THE CORNER caps the evening."



Dude are you an usher or involved with the show if not, why so obsessed with reporting specific changes all the time?

Wow. Those are a ton of changes. Sounds like they're making the most of their out-of-town tryout! How has the audience response been?

So many people from NYC are flying out for opening.

Could this be the next Kinky Boots - feel good show?