Something To Shout About

Boop!

Boop-Oop-a-Doop! She’s here, at last, and it’s truly “Something to Shout About.” Betty Boop, that confident, strong-willed, yet sweetly sexy and likable young woman first appeared in black & white cartoons and short films, back in 1930. That was a very  different time. Hoover was in the White House, the Stock Market had crashed, thousands were out of work and America was in the middle of the Great Depression. But tremendous change was in the air. The 30’s was an era of contrasts: it was simultaneously a decade of traditionalism and modern experimentation; sentimentality blossomed that was contrasted by a new toughness; and there was a longing for our simpler past against the country’s dreams for the future. This was the world of Betty Boop and her animated friends.

But with the Windy City arrival of “Boop! The Musical,” there’s a new girl in town. In his pre-Broadway run, Jerry Mitchell, the imaginative and innovative New York and West End director/choreographer, has another hit on his hands. A multi-Tony and Drama Desk-nominated and Award-winner for his work with such wonderful shows as “Kinky Boots,” “La Cage aux Folles” and “Hairspray,” just to name a few, Mr. Mitchell brings his inimitable talent and style to this exuberant and energetic new musical. A lot of other big name talents contribute their skills to bringing this show to life. The musical features a winning book by the gifted playwright, Bob Martin (“The Drowsy Chaperone,” “Elf,” “The Prom”); an exciting musical score by 16-time Grammy Award-winner, David Foster (“The Power of Love,” “All By Myself,” “I Will Always Love You”); and smart, witty lyrics by Susan Birkenhead (“Jelly’s Last Jam,” “Working,” “Triumph of Love”). But it’s the brilliant cast with whom the audience falls in love.

Betty Boop has grown weary of fame. Her black & white world not only inhabits her films but colors her entire world. And everyone in that gray universe exists because of her. When she learns that Grampy, her enthusiastic inventor of a grandfather, has created a machine that could possibly transport Betty to the real world, she secretly jumps at the opportunity. When Betty suddenly arrives in New York City, she’s blown away by the color and sparkle of everything. It’s in this new environment that the cartoon character seeks to remain anonymous and live a “normal” life with real, honest-to-goodness, three-dimensional people. But problems soon arise.

The production is led by a bubbly Broadway baby, Jasmine Amy Rogers. She was last scene as the hilarious Gretchen Wieners in the National Tour of “Mean Girls.” All big eyes, a child-like voice and tight spit curls, Ms. Rogers grabs the audience in the first moments of this show and never lets go until the last note of the finale. Jasmine looks and sounds exactly like the Betty Boop in my memories of the black & white Max Fleischer “Talkartoons” that I enjoyed during my childhood. Full of energy and style, Ms. Rogers completely imbues her character with the flirtatious innocence of a sweet, young flapper and the singing style of a seasoned, Jazz Age, red hot mama. Jasmine Amy Rogers is simply perfect in this role.

The supporting cast is magnificent, and that especially includes the masterly and accomplished ensemble. The more than two dozen singers and dancers who play multiple roles and truly keep this musical moving are sensational. Jerry Mitchell’s brilliant and challenging choreography, as performed by this group of stellar artists, continually sparkles and surprises. Dance steps that remind us of “A Chorus Line” suddenly evolve into street funk and breakdance; then, just as suddenly, a fantastic tap number turns into a Viennese Waltz, and then reverts into cool jazz. Between Mr. Mitchell’s exhilarating choreography, David Foster’s beautiful score and the artistic and athletic skills of the entire company, this is a show for the eye and ear. 

Handsome Australian triple-threat, Ainsley Anthony Melham is perfection as the shy jazz trumpeter, and Betty’s love interest, Dwayne. As the story progresses, so does his character’s journey toward love. By the end of the musical, Melham’s character has evolved into a graceful ballroom dancer, very much like Fred Astaire. His animated trumpet-playing number in the small Harlem jazz club is one of the show’s highlights. When Dwayne finally realizes he’s in love, it astounds him that his first serious relationship is with a cartoon character.

Jerry Mitchell’s choice to portray Trisha is a bit of brilliant casting. Young, spunky and incredibly gifted Angelica Hale plays the teenager at the New York Comic-con, who’s obsessed with the character of Betty Boop. It’s there that the real Betty Boop meets this youngster. From their initial encounter, Betty and Trisha become best friends. Not only is Ms. Hale an honest and talented young actress, as well as a gifted dancer, but she has a powerful, angelic voice that fills the entire theater up to the third balcony. It’s no wonder this gifted youth won accolades on the television show, “America’s Got Talent.” She truly has it all!

Other standouts in this cast include Broadway legend Faith Prince as Valentina. As would be expected from her Tony Award-winning portrayal of Miss Adelaide in “Guys and Dolls,” she dominates every scene she’s in. Unfortunately, the delightful and delectable Ms. Prince’s talents are squandered in a small, secondary role. She plays the love interest for Grampy, Betty’s wacky inventor relative from the cartoon world (superbly played by the agile and loquacious fast-talking Stephen DeRosa). Ms. Prince only has two numbers in the entire show. Near the end of Act I, Valentina sings the sultry, “A Cure for Love;” and then, in the middle of Act II, she has a sexy duet with Grampy entitled “Together, You and Me.” The two characters provide additional humor and a secondary love story for the musical, but Ms. Prince’s talents seem wasted.

Other delightful characters include the comedy duo of Aubie Merrylees, as Betty’s Director in cartoonland, and the delightful Ricky Schroeder, as his Assistant. From the beginning theatergoers might see there’s something more to their relationship than just making movies, but it takes most of the play for their working partnership to blossom into something else. Additionally, both multitalented actors also play roles in the ensemble, as well. 

The villain of the story, if you can call him that, is Erich Bergen who plays the smarmy Raymond Demarest. He’s a swindling politician who’s running for Mayor of New York City. Carol, the brains behind Demarest’s bid for Mayor, is played by lovely Anastacia McCleskey. She’s smart and stalwart as Trishia’s Aunt and guardian. She’s also the sharp manager of Demarest’s political campaign. And one more character who can’t be forgotten is Betty’s sweet little dog, Pudgy. He’s expressively played by a marionette puppet, skillfully operated by Phillip Huber.

The technical geniuses who add their own expertise in bringing “Boop!” to life are many. They include musical director Andrew Resnick, who also conducts his large, talented pit orchestra. The knockout scenic design, by David Rockwell, coupled with an absolutely gorgeous and unbelievable projection design, by Finn Ross, bring the two worlds into view. Philip S. Rosenberg’s sparkling and spangling lighting design provides the icing on the cake. And from the gray cartoon universe to the colorfully chromatic real world, sensational costumes by Gregg Barnes, makeup by Michael Clifton and wigs & hair designs by Sabana Majeed give additional spectacle to this new show.

“Boop!” isn’t perfect quite yet, but it’s almost there. It will just take a little bit of tweaking. Maybe a few adjustments to the secondary plot would give that super talent, Faith Prince, a little more to chew on. She deserves a richer storyline and maybe another song. The jazz and 1930’s musical sound might be amplified and highlighted a little more in order to evoke that era. It would serve as a nice contrast to the more modern sounds in David Foster’s superb score. 

But my job isn’t to offer suggestions for improving a near-perfect production. I leave that to the experts. All I know is that the production of “Boop!” that opened in Chicago has a whole lot going for it right now. It’s warm, loving, lively and so entertaining. I can just imagine how it will take New York by storm, when the musical eventually opens in the Big Apple. As Betty Boop sings in one of her great, show-stopping numbers, this musical really is “Something to Shout About.”              

Highly Recommended

Reviewed by Colin Douglas

Presented November 19-December 24 by Broadway in Chicago at the CIBC Theatre, 18 W. Monroe, Chicago.

Tickets are available at all Broadway in Chicago box offices, at all Ticketmaster locations, by calling the Chicago Ticket Line at 800-775-2000 or by going to www.BroadwayInChicago.com. 

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.