Boop! the new musical officially opened its pre-Broadway tryout in Chicago last night. This is a delightful entertainment. Tony winning director-choreographer Jerry Mitchell has assembled a terrific cast, stunning visuals, strong movement and a heartfelt score into a seamless production that keeps the audience smiling at her antics.

Anastacia McCleskey (Carol Evans), Angelica Hale (Trisha), Jasmine Amy Rogers (Betty Boop), and Erich Bergen (Raymond Demarest)
Photo’s by Matthew Murphy and Evan Zimmerman

Betty Boop was first introduced to the world by the Fleisher Studios in 1930.  As a comedic representation of the free spirit of jazz age women. Betty has entertained and inspired audiences for over ninety years, even after being sanitized by the Hayes Code. Betty also has some real historical precedents, which are ignored by this creative team. As such, the character of Betty herself remains no more than a cute cartoon in the end.

Jasmine Amy Rogers (Betty Boop) Photo’s by Matthew Murphy and Evan Zimmerman

Betty is introduced in a brilliant montage of projections and cardboard cut outs, as if we are seeing her perform in a series of her black and white, 1930s cartoons. She recaps the scenarios in which she got to save the day with her song, “A Little Versatility”. Jasmine Amy Rogers, as Betty is a sexy, cuddly, and touching musical theater dynamo, who adds her own considerable personal warmth to the character.

Jasmine Amy Rogers (Betty Boop), Ainsley Anthony Melham (Dwayne), and Ensemble Photo’s by Matthew Murphy and Evan Zimmerman

When the song ends, we are in the monochromatic world of the Max Fleischer cartoon movie studio. Betty complains to her director (Aubie Merrylees) and his megaphone-toting assistant (Ricky Schroeder) that she is suddenly feeling the pressures of cartoon stardom. She says she needs a vacation from herself. She also says she needs to find out who she really is, although nothing in particular has happened to incite that decision.

Stephen DeRosa (Grampy), Jasmine Amy Rogers (Betty Boop), Phillip Huber (Pudgy) Photo’s by Matthew Murphy and Evan Zimmerman

Actor Stephen DeRosa, in a deliberately cartoony depiction of Betty’s grandfather character, Grampy, who introduces Betty to a time and space machine, which is a Rube Goldberg contraption wedded to an overstuffed armchair. In an instant, Betty is transported from the world of black and white cartoons to the real world. She appears magically at the New York City Comicon 2023, which pulsates with Mr. Mitchell’s energetic choreography. There, Betty discovers the joys of life in living color.

Angelica Hale (Trisha), Jasmine Amy Rogers (Betty Boop), Ainsley Anthony Melham (Dwayne), and Ensemble Photo’s by Matthew Murphy and Evan Zimmerman

At Comicon, Betty is befriended by a preteen girl, Trisha. This character is given a theater-shaking performance by petite sixteen year old Angelica Hale, who wowed the world on America’s Got Talent. Whenever she opens her mouth to sing, she literally brings the house down. If you are the parent of an aspiring young performer, you must bring your child to see this amazing young role model.

Jasmine Amy Rogers (Betty Boop) and Angelica Hale (Trisha) Photo’s by Matthew Murphy and Evan Zimmerman

The problem is the story puts baby, or Betty, in the corner. Betty tells Trisha that she doesn’t want to be recognized as famous, she just wants to be normal. Betty asks Trisha to help her remove her signature makeup and make her look like a real girl, so we expect to see that happen. But it never does. Betty continues throughout the show looking and acting just as cartoony as she does from the beginning.

Ainsley Anthony Melham (Dwayne), Jasmine Amy Rogers (Betty Boop) Photo’s by Matthew Murphy and Evan Zimmerman

Also at Comicon, Betty meets Dwayne, an aspiring jazz trumpeter played with unforced charm and appeal by Ainsley Anthony Melham. Dwayne turns out to also be Trisha’s baby sitter, who comes over when her Aunt Carol (Anastacia McClesky) has to go to work as campaign manager for Raymond Demarest, a former city sanitation superintendent now running for mayor. Erich Bergen as Demarest is very funny and perfectly sleazy as this shady character, whose excremental campaign slogan is to “Doo doo” what needs to be done.

Anastacia McCleskey (Carol Evans) and Erich Bergen (Raymond Demarest) Photo’s by Matthew Murphy and Evan Zimmerman

Dwayne invites Betty to join him at a jazz club where he sits in as a trumpeter. After saying she doesn’t want to be recognized, Betty inexplicably outs herself, belting the joyous song, “Where I Want to Be.” As the first act closes, our expectation is that Betty will be pursuing a career as a performer in modern times. That doesn’t happen either. Instead, the second act opens with Dwayne doing another jazz number on the stairs in Times Square for Betty’s benefit. Betty just sits on the sidelines, watching passively. Then, Demarest enlists Betty to be his assistant mayor, and help generate publicity for his campaign. In her innocence, she allows Demarest to exploit her fame as a cartoon character because she hopes to help women’s causes. Demarest does not allow Betty to speak or express an opinion. This again makes Betty just a passive observer of the story she should be driving.

Young Trisha supposedly admires Betty for the various roles she was given to play in her cartoons, however Betty shows none of the initiative and accomplishment in New York which inspired her young fan from watching her cartoons. That’s a story shortcoming which could have been turned into a positive, if it elicited disappointment on Trisha’s part, and created a crisis between her and Betty in the second act, but the book skips over this issue, and misses a great opportunity to raise the emotional stakes in its story.

Stephen DeRosa (Grampy) and Faith Prince (Valentina) Photo’s by Matthew Murphy and Evan Zimmerman

Grampy is given an old flame to fan, in the form of Tony winning Broadway legend Faith Prince, as a once young scientist, Valentina. She is reunited with Grampy after a supposed forty year absence (an inexplicable timeline, given that the play takes place ninety years after the cartoons). They rekindle their romance with a charm song,“Together, You and Me”, and a little suggested senior sex. But Ms. Prince’s considerable comedic talents are vastly underutilized here.

Finally, Chicago puppeteer Phillip Huber of The Huber Marrionettes brilliantly and unobtrusively manipulates his marionette puppet of Betty’s dog, Pudgy. He delights us all with this fluffy white creature.

Apart from the wonderful cast, the real star and saving grace of this show is lyricist Susan Birkenhead (Jelly’s Last Jam, Working). Literally all the emotion and character development in this show are in her outstanding lyrics. Ms. Birkenhead says everything in song that the show’s book writer, Bob Martin (The Drowsy Chaparone, The Prom), should have said in his libretto. Together with Grammy winner David Foster’s excellent music. This fine score is the beating heart of this musical, as it should be.

Mr. Martin’s book makes a joke or two about Betty’s cartoon origin as a dog character. But the glaring omission here is the lack of any reference to her real life origin story.

Betty Boop was a parody created by animator Max Fleisher of a white performer named Helen Kane. Unknown to Fleisher at the time, Ms. Kane had stolen the act of a very real black performer, 1920’s jazz singer Esther Jones, known as  “Baby Esther,” who first popularized the phrase, “Boo boop a doop”.  Ms. Kane had seen Ms. Jones in performance in 1928, and copied her signature expression. A lawsuit brought by Ms. Kane against Mr. Fleisher finally brought out the truth. Casting Ms. Rogers, a black performer, as a character who was initially a white misappropriation of another black performer’s identity, and give her no awareness of it, skirts the most sociologically and dramatically important story opportunities in the show. What if Trisha were to tell Betty that she is really based on a black singer who received no credit from history? What if Betty doesn’t know what color she really is? What if she feels white on the outside and black inside? So many interesting possibilities. Sadly, there is no consideration of any of them here. Even the program note, “About Betty Boop and Fleischer Studios,” blithely whitewashes her history and makes no mention of this.

In the beginning, Betty says she wants to take this journey to learn who she really is and yet, the creative team fails to let her explore the real answer to her question. Color is used in the end only to illustrate romantic passion. The story Bob Martin has crafted is cute, but insignificant.

The show ends with squeaky-voiced Betty inexplicably delivering a throaty power ballad, which states “I know I want something …but I don’t know what I want”.  That might have made sense for Betty to sing at the end of the first act, but it’s ridiculously out of place at the end of her story. Yes, Ms. Rogers stops the show with that song, just because she can, but they should cut the song, or move it to the first act, and give Betty a final number where she gets to really express what she has learned.

Chicago audiences are not easily manipulated by flash over substance. We’ve seen too much smart work. We demand depth, even from our cartoon characters.

There is much to appreciate in the fine sets by David Rockwell, delicious costumes for Betty by Gregg Barnes, flashy lighting by Philip S. Rosenberg,  clever projection design by Finn Ross, hair and wig design by Sabana Majeed, makeup design by Michael Clifton, and musical supervision by Daryl Walters.  The performances are all great, the songs are fun, and Mr. Mitchell makes everyone’s work look its best.

If Mr. Mitchell came to Chicago, as he has done in six previous productions, he would have learned something which only this city can teach him about Boop!, and that would be that Betty’s own story still needs a lot more fleshing out.

Jasmine Amy Rogers (Betty Boop) and Ensemble Photo’s by Matthew Murphy and Evan Zimmerman

Boop! continues through December 24 at the CIBC Theater, 18 West Monroe Street, in Chicago.  For tickets visit ticketmaster.com.

17 days to go! Every year people panic to find the perfect gift. We at T2C have been collecting idea’s all year long to bring you the perfect gift guide at all price levels. When you’re at the end of your rope trying to find the perfect Christmas present this year, come to this guide for some great suggestions.

How unique is this Spiral Song Lyric with Night Sky Map Clock.

Looking for a way to capture a meaningful day and text in one beautiful design? Grab a Personalized Star Map for you on a clock. Have questions about this design or how to personalize it for you or a gift? Message, as customer happiness is their #1 goal.

You give the company The Artist, Song Title or enter lyrics, a quote, names, address (for night sky) and the date and a spiral print will be printed showing the star map, alignment of the stars and constellations from your special day. Personally I think it is an amazing gift at $53.97 .

Free proofs are provided as well as quick edits to make sure you love your design before it’s printed. 

To personalize your night sky spiral print, click here. 

What else – White Christmas, of course! 

December is jampacked with great entertainment, so I hope you’re caught up on your shopping, because there are lots of treats for you this month. Here’s a stockingful of events that you shouldn’t miss.   

If you’re looking for probably the most glamorous gift of the season, drop by Doyle Galleries to at least look at The Ellin and Irving Berlin Sapphire and Diamond Ring.  Bidding is estimated to begin at $200,000 at the December 14th auction. 

Jason Henderson kicked off the month reprising his highly acclaimed latest venture, Getting to Noël You at Don’t Tell Mama on the 4th.  If you missed this evening, don’t worry – he’s back by popular demand—same time, same location—on January 24th and February 11th.  It’s quite a curious and fast-paced ride he takes us on, and it’s one not to be missed.   

The York Theatre has delivered a mitzvah–just in time for Christmas. Billed as a Musical Comedy of Biblical Proportions, The Jerusalem Syndrome certainly lived up to expectations.  You must see it to discover the meaning of the title, which is fact, not fiction. 

 While this has been in development for several years, the skilled midwifery of the York brought forth a little bundle of joy that had the audience laughing at its humor and touched by its message.  Sensitive to the current Middle East conflict, the York bravely went ahead with the project, which affords everyone a chance to marvel and understand the miracle that is Israel. 

 It’s running through the end of the year—visit the York website https://yorktheatre.org for more info. 

Urban Stages has announced its “2023 Winter Rhythms” series, the award-winning music festival at Urban Stages Theater (259 West 30th Street – between 7th & 8th Avenues). 

It began with a gala on December 6 entitled “Nights at the Algonquin: A Celebration of The Oak Room Supper Club,” featuring many legendary cabaret performers including  Natalie Douglas, Boots Maleson,  Steve Ross, and Daryl Sherman.  Hosted by Michael Colby (author of The Algonquin Kid), the evening began with a champagne and wine reception followed by the show at 7:30 with a post-show gathering to follow.  

On Sunday, December 10 at 3pm “Created at the Algonquin: Songs from Musicals Written at The Algonquin,” featuring performances by Craig Bierko, Shana Farr, Jenn Gambatese, Anita Gillette, Jon Peterson, Steve Ross and others. The program will be directed by Sara Louise Lazarus with Michael Lavine directing the music.   

As part of the festivities, Shana Farr will reprise her glorious Barbara Cook tribute on the 16th.   Ice Cream,. Anyone?   

Everyone’s favorite is Karen Mason, whose show Christmas!  Christmas! Christmas! is one night only at Birdland at 7 pm on the 11th.   

Stay tuned for Part II for Christmas romance, tradition, and good will! 

“Light One Candle” is a song by the folk group Peter, Paul and Mary. This popular Chanukah song was performed in concerts starting in 1982 at Carnegie Hall, before recording it for their 1986 studio album No Easy Walk to Freedom.

At The Carney’s concert in 2019 I was introduced to this song. Reeve as a young child was part of the children’s choir to sing back up at Carnegie Hall.

I feel in love with the lyric and sentiment so from T2C to you we wish you a happy Hanukkah

As we head into the holiday season, The Algonquin Hotel’s December event lineup is open to both hotel guests and New York City locals. The hotel will spread holiday cheer with a variety of festive performances, cocktails, and experiences including:

• Cocoa and Carols Happy Hour: Daily, 5-8PM, Every evening this December, all are invited to enjoy Specialty Cocoa while Christmas carols chime at the Blue Bar. Drinks will include Mexican Hot Chocolate spiked with mezcal
• KT Sullivan Cabaret:  December 5th, 12th and 19th, Sullivan will perform her iconic Christmas Cabaret. As noted by The New York Times, Sullivan is a thrilling Off-Broadway performer with over eight published albums
• Rocco Dellaneve’s Rat Pack Christmas: December 7th, 14th and 21st, Rocco Dellaneve will perform iconic songs from the Rat Pack Christmas album with special inclusions of Santa with Sinatra, Rocco of the Snow, Rudolph and the Rat pack
• The Serafina’s and Broadway Vocalists: December 8th, 15th and 22nd, enjoy the high kicking – precision line dancing Christmas tradition around The Algonquin tree. The Serafina’s will be available for pictures and autographs from 6pm to 7pm, followed by special Broadway vocalists

A portion of proceeds from all events will be donated to Toys for Tots.

Beyond the December events, The Algonquin Hotel is located in a prime position nestled in the heart of Times Square and Fifth Avenue, making it the perfect launchpad for a New York City holiday experience. The hotel is a historical jewel that emphasizes the importance of making unique, storied experiences. Since its opening in 1902, The Algonquin Hotel is famous for its timeless style and desire to honor the literary and cultural elite. The distinguished Round Table Restaurant and Blue Bar offer tasteful dining inclusions and curated cocktails that are sure to excite everyone.

Photo credit: The Algonquin Hotel, Autograph Collection