00063: BOOP! (A Broadway Musical Review)

Theatre historians considered the musical Oklahoma! (1943) as the work that epitomized the “book musical.” In fact, it is often said that the history of musical theatre is divided into everything before Oklahoma! and everything after Oklahoma! Although, enough time has passed to have other musicals as breakpoints in history, Oklahoma! is also the musical that marks the beginning of the “Golden age of Musical Theatre.” 

Fast forward to the 2000s, where Broadway musical creators are experimenting with new musical theatre structural forms and approaches while utilizing different music genres that may or may not work or may or may not be accepted by the audience (think Hamilton, for example.) Now let’s jump to the present, 2025, where a new musical at the Broadhurst Theatre is playing, BOOP! The Musical. 

This new musical based on the beloved Betty Boop cartoon, uses a traditional musical classic structure that works perfectly. Opening and closing with big showstopper musical numbers in its two acts, BOOP! follows a linear plot structure as the story jumps back and forth from Betty Boop’s cartoon world in the 1930s and our “real” world in New York City in 2025. 

BOOP! The Musical combines two different separate looks: black and white in the 1930s and color in the present time. And while in Betty’s world the look is black and white and the costumes sparkle, in our world the look is in color and the costumes standout because, well, it is New York City, and no other city in the country can give the weird of Times Square, like theatre does. Yet, no matter the colorful strangeness of the Big Apple or the lack of color in Betty’s world, the show offers elaborate (and magical) props, set pieces combined with AI projections, and non-stop tap dance numbers to satisfy your musical theatre thirst. 

With a modern look but following a classical musical theatre structure, BOOP! The Musical gives us exactly what is expected, a linear story line, a leading couple, a supporting couple, an antagonist (in the form of a modern politician), a goal for the main character (Betty) to achieve, and of course, a love story. And as Betty tries to find herself and achieve her goal, she has the opportunity to inspire and help others along the way. Yes, this musical is a traditional musical in every sense of the word, but this doesn’t mean it is boring or uninterested. On the contrary. It is entertaining, and funny, and energetic, and filled with surprises and comedy from start to finish. 

The star of the story is Betty Boop, and the star of this show is its leading lady Jasmine Amy Rogers, who has, deservedly so, been nominated for a TONY as Best Actress in a Musical. She embodies the look, the voice, the sensuality, the cartoonish body look, and the spirit of Betty Boop. It is amazing to see how Ms. Rogers behaves, moves, and talks like the Betty Boop cartoon among a world full of mostly humans. In fact, after seeing her performance, she deserves that Tony Award above one of my favorite actresses, Audra MacDonald, who is also nominated in the same category. 

Another great performance comes from Stephen DeRosa who plays Grampy. His comedic timing and body language is just on point, and his character is written with some of the best nerdy scientific lines, remind us of Doc from “Back to the Future.” Perhaps this is the reason why he didn’t get a Tony nomination. But both Jerry Mitchell and Gregg Barnes received nominations for Best Choreography and Best Costumes respectively. 

An outstanding performance comes from Angelica Hale who plays Trisha, a 13-year old girl who sees Betty Boop as her hero but doesn’t see herself as one. Her voice is powerful and her acting’s strong. Another strong performance is Ainsley Melham who plays Dwayne becoming Betty’s love inserts. He has a stage presence you can’t ignore and he’s definitely a triple threat actor with good acting, singing, and dancing chops. 

Overall, BOOP! The Musical is very entertaining and fun to watch. The opening number, “A Little Versatility,” is a classic Broadway tap dance musical number and so is the opening number in Act Two, “Where is Betty?” The same can be said about both the closing number in Act One and Act Two. Both musical numbers get your blood pumping, your energy up, and your spirits way high. But the tour de force here is the 11 o’clock number, “Something to Shut About,” sang by no other than Jasmine Amy Rogers, as Betty, standing on stage, by herself in a beautiful sparkling Betty Boop-like dress. 

There are other highlights, of course, even a funny, yet creepy musical number that makes you laugh while keeping you feeling uneasy. This number, “Take It to the Next Level,” was hilarious to watch yet unsettling because it is sang by politician Raymond Demarest, play disgustingly good by Erich Bergen. It isn’t disgusting because it is sang by a politician but rather due to what the character has in mind toward Betty while singing it. But, it’s all good because in a traditional musical comedy fashion the character gets what he deserves. 

At the end, BOOP! The Musical is a gem that I’m sure it will have a commercial success, and once the rights are available, the show will be produced at colleges, universities, and community theaters all over the country, that is, of course, if the government allows the arts to survive. 

Boop! The Musical did not get a “Best Musical” nomination. I am going to assume that the lack of nomination comes from its straight forward and very light bubbly story. As a musical comedy it is good, but I’m sure that what’s missing is a little bit of depth in the characters and the story. It is unfortunate I don’t get to see all the musicals nominated in the “Best Musical Category.” I would have love to see how they’re fair when compering to this bubbly and entertaining gem that is Boop! The Musical.

The bows at the performance of the show!