Broadway in Chicago presents the pre-Broadway world premiere BOOP! THE MUSICAL.
It’s official… I’ve been Boop-ed!
Betty Boop is a cartoon character created by Max Fleischer in the 1930s. She gained fame in her portrayal of a damsel in distress. Although her curly hair, big eyes, short skirt and ample bosom are pretty recognizable, the story behind the animated star is less familiar… until now. The creative team of Bob Martin (book), David Foster (music) and Susan Birkenhead (lyrics) give color and dimension to Betty in this musical tribute. They provide her with an escape from work, a feminist voice and her first real love story.
The show starts out in the past. Betty (played by an effervescent Jasmine Amy Rogers) is on the movie set. The design team (David Rockwell-scenic, Gregg Barnes-costumes, Philip S. Rosenberg-lighting, Finn Ross-projections) use amazing stagecraft to create a black-n-white visual. The effect immediately captivates. The devised look parallels the black-n-white movie they’re shooting. Ross reinforces the time period and genre with cartoon-like projections. Stephen DeRosa (grampy) adds to the lampoon with his own slapstick antics. And the adorable Pudgy (marionette artist Phillip Huber) brings the whimsy. Despite having her faithful companions, Rogers decides to time travel to a place no one knows her. She hilariously lands in NYC at ComicCon 2023 where being colorful and a caricature is revered.
Under the masterful direction and choreography of Jerry Mitchell, this musical is fun! There is a certain amount of suspension of belief required — time travel, cartoons coming to life, Betty Boop being hero-worshipped, someone taking vacation right after starting a new job—yet, this is a musical… so go with it. Martin’s smart script gives Rogers plenty of one liners zinging the absurdity of it all. At one point, she muses all she needs to get rid of a lecherous guy is a frying pan.
Even though Rogers and Ainsley Anthony Pelham’s (Dwayne) flirtations turn to love in catchy tunes like “I Speak Jazz” and “Why Look Around The Corner,” the real love story is between Rogers and Angelica Hale (Trisha). Their mutual admiration solidifies a beautiful and fierce friendship. Hale impresses with a wistful “Portrait of Betty.” Later, their duet “My Hero” is a powerful ode to gal pals everywhere. The entire ensemble is terrific. And nod out to legendary Faith Prince (Valentina) for bringing her special brand of droll sass to a supporting role.
Mitchell’s choreography is wonderfully versatile. His ComicCon characters are vigorous and playful. His jazz club customers are slinky and sophisticated. Especially in the first act, the musical numbers keep the tempo quick. The dancers seem to pop-up, bounce around and effortlessly transition the action into the next scene. Since this is a pre-Broadway run, the show could be tightened up for contemporary audiences. Although Martin has an almost tertiary campaign story that could easily be cut, the focal point of it is Erich Bergen (Raymond). Bergen is deliciously smarmy and hysterically funny especially in his song “Take it to the Next Level.”
BOOP! THE MUSICAL is a light-hearted, fanciful tale. The premise is clever. It looks at the humanity behind a drawing. Rogers brings Betty to life in a very personal and connectable way. I hope this musical resurrects and establishes Betty Boop as a feminist icon for the future. Let’s all get Boop-ed!
Running Time: Two hours and forty minutes with an intermission
CIBC Theatre, 18 W. Monroe
Book by Bob Martin
Music by David Foster
Lyrics by Susan Birkenhead
Directed and choreographed by Jerry Mitchell
Performances are:
Thru December 17th
For more information or tickets
Production photos by Mark Seiler
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