Boop
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Cititour.com Review
To quote the title of its act one closer, there is something to shout about throughout the new Broadway tuner “Boop! The Musical,” now at the Broadhurst Theatre, and her name is Jasmine Amy Rogers. Making the most sensational Broadway debut of the season, the petite, loose-limbed, strong voiced actress is a consistent wow as famed cartoon legend Betty Boop, who travels from the 1920s – hoping to escape her frantic existence -- to present-day New York City, only to find her fame has survived (if not grown) in the ensuing century. Can’t a girl catch a break?
Truth be told, there a few things to shout about in “Boop!,” including director Jerry Mitchell’s always splendid choreography (immediately evident in the show’s razzamatazz opening number, “A Little Versatility”); David Rockwell’s clever sets (aided by Finn Ross’ projections), which smartly move between the black-and-white 1920s and the technicolor 2020s; Gregg Barnes’ dazzling costumes, which use every shade of the rainbow and then some; and an excellent supporting cast (more on them later) and ensemble who help the musical’s best feet forward.
Still, for the most part, “Boop!” too rarely rises above the level of pleasant fluff during its two-and-half-hours, which can be frustrating since the show’s potential for greatness is obviously within reach. (I’d be a little more forgiving of its shortcomings if the show hadn’t had a lengthy pre-Broadway tryout in Chicago amid years of development.)
Perhaps fittingly for a show about the movies, Bob Martin’s script (dotted sparingly with his trademark in-joke humor) only really comes into sharp focus during the second act. That’s when Betty not only realizes that her trip’s purpose is more than a getaway: it’s to find her own voice, as well as to give voice to the people who quickly become her adopted family.
There is frustrated jazz musician – and instant love interest -- Dwayne (a truly appealing Ainsley Melham); adoring teen Tricia, who lacks just a little self-esteem (former “America’s Got Talent” contestant Angelica Hale, who could literally raise the roof of the theater with her pipes); and Tricia’s aunt Carol (the always welcome Anastasia McCleskey), who needs to be convinced to run for mayor of NYC rather than just run the campaign of sleazeball candidate Raymond Demarest (Erich Bergen, making the most of his limited stage time.)
While no one is asking for another version of “Suffs,” there’s a lot of pertinent material about the need for female independence (in both centuries), more of which needs to come to the center. One way that could be done is to shore up the character of Valentina (the delightful but underused Faith Prince). Se is an aging astrophysicist who helps Betty’s eccentric grandfather Grampy (an over-the-top Stephen DeRosa) get Betty (not to mention herself, Grampy, her unlikely love interest, and lovable pup Pudgy) back to the 1920s where the entire world – not just a few people – depend on her existence.
The show would also benefit from a consistently stronger score than the one supplied by first-time collaborators David Foster and Susan Birkenhead. A 16-time Grammy Award winner (mostly for producing), Foster has penned plenty of great power ballads – including Whitney Houston’s “I Have Nothing” and Chaka Khan’s “Through the Fire” – which explains why Rogers’ two big numbers, notably “Where I Want to Be” are the show’s strongest. The bouncy “Why Look Around the Corner” and Dwayne’s charming “She Knocks Me Out” are also winners, but most of the songs are forgettable.
You will never forget Rogers, though! Indeed, during the dullest portions of “Boop,” you’ll be making a mental list of revivals she should star in. I’ve got plenty in my mind, but my most fervent wish is for another new musical that lets her bathe in every inch of the theatrical spotlights.
By Brian Scott Lipton
Visit the Site
https://boopthemusical.com/
Open/Close Dates
Opening 4/7/2025
Closing Open-ended
Theatre Info
Broadhurst Theatre
235 West 44th Street
New York, NY 10036
Map
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