What do you say about a priceless diamond in a shabby setting? That it shines brilliantly, no thanks to what surrounds it—a dull distraction than can, by contrast, sometimes make the jewel's gleam all the more brilliant. And, unfortunately, that same sentiment is what to say about Boop! The Betty Boop Musical—Jerry Mitchell's Broadway-bound big, bouncy musical making a holiday season tryout run at the CIBC Theatre this month.
I want to be clear that, when I say "diamond," I am talking about far more than Boop! star Jasmine Amy Rogers—although she is indeed a precious thing. I'm also talking about the amazing collection of on- and off-stage talent behind this shimmery kaleidoscope of a show.
Let's start with what sparkles: first and foremost the absolute explosion of talent exhibited by the lead: Jasmine Amy Rogers. A true star-in-the-making, Rogers' performance: singing... dancing... acting... is complete, captivating perfection. She turns an originally black-and-white two-dimensional cartoon character into a real world supernova, completely and believably inhabiting the lovable title role. The audience loves her—and so will Broadway.
Adding to the show's luster is director Jerry Mitchell's choreography, from the fantastic opening number's tap dance, "A Little Versatility," evoking the spirit of 42nd Street, to the leaping, balletic athleticism that accompanies Betty's arrival in the real world. Combined with the show's scenic design (courtesy of David Rockwell), which takes us from Betty's original gray-scale world to the colorful vibrancy of Times Square, Boop! catches and holds the audience's eye for its two-and-half-plus-hour's entirety.
16-year old Angelica Hale's performance as Trisha, who first befriends Betty when she arrives in the real New York, is almost as astonishing as Rogers. Hale first reached fame thanks to her second-place finish on "America's Got Talent," where she captured hearts due to both her personal story (childhood triumph over a life-threatening illness) and her powerful voice. That voice has only grown in power since her TV debut, and she uses it masterfully here.
But, these outstanding performances and captivating dance are contained within a show that still needs considerable work—which is what this month-long tryout in Chicago is all about. Director Mitchell and book writer Bob Martin (the mind behind the delightful Drowsy Chaperone) must address the show's chaotic tangle of a story, which not only brings Betty to the real world, but also involves her in the mayoral run of a corrupt waste management executive. This subplot is an unnecessary sideshow to Betty's journey and can—and should—be jettisoned completely.
Another problem is the criminal underuse of Broadway legend Faith Prince. Cast in an at-best tertiary role to the plot, Prince is trotted out for a song in each act—her considerable talent completely wasted. Both Mitchell and Martin need to find more for Miss Prince to do.
The show also could benefit from a tightened focus on Betty's emotional and personal self-discovery. Anyone who has seen one of the many incarnations of The Wizard of Oz (including The Wiz, now onstage down the street from Boop!) knows that the journey from a black-and-white world to color and back again is more than enough story for any show.
I am confident that, in its four-week stay here in Chicago, Mitchell and his creative team will make the adjustments necessary to make Boop! shine as brightly as its gleaming star.
Boop! The Betty Boop Musical plays through December 24 at the CIBC Theatre (18 W. Monroe). Tickets are available at www.broadwayinchicago.com. The show runs 2 hours and 45 minutes, with a 15-minute intermission.
For more information on this and other plays, see theatreinchicago.com.
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