00063: BOOP! BROADWAY MUSICAL

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 end of the show!

00062: BUENA VISTA SOCIAL CLUB (Broadway Musical)

I knew that attending a musical about Cuban music was going to be contagiously fun and entertaining. I also knew that the new broadway musical, Buena Vista Social Club was going to be a story about the musical group's history and their songs. What I didn't know was that such musical was going to not only give me a very illuminating lecture on that history, but also carried me through the member's social-economical, racial, cultural, and emotional journeys of this internationally known musical group.

As soon as the musical company members appear on stage, the audience knows we are in for a true musical journey. To start, the orchestra (in this case, the musical "instrument members" of the Buena Vista Social Club) are on stage from start to finish. The band opens and closes the show with two very contagious, very entertaining, and very upbeat songs. And as soon as our narrator appears (Juan de Marcos played by Justin Cunningham) on stage to tell us the story of the music group, we are transported to Havana, Cuba between the years 1958 and 1996.

The musical is about how this group of musicians came together in 1996 to create their now infamous album. But it is through the character, Omara Portuondo (played by two actresses: Youn Omara by Isa Antonetti in 1958 and Omara by Natalie Venetia Belcon in 1996 (nominated for Best Feature Actress in a musical) that we are transported to the days when these musicians were young, energetic, and full of life artists fighting to survive in a Cuba that was about to explode and change the country and its habitants forever. 

If you want to know about the history, how the group came together, and more, watch the 1999 and 2017 documentaries. The album from the club was release in 1997 by 1998 they were an international success. The documentary, titled "Buena Vista Social Club," includes interviews with members of the band as it follows them through their two main lineup concerts, one in Amsterdam and one in NYC at Carnegie Hall. And then, 16 years later, a second documentary titled, "Buena Vista Social Club: Adios," follows five of the original band members from the first film as they go on one final musical proyect, as it recalls their ups and downs over the years. And now that the "history lesson" is over, I must get back and talk why this new Broadway musical received 10 TONY nominations including one for Best Musical.

Whether the story being told on stage, about the musicians and their lives and relationships is true or not, what makes this musical not only engaging but also deeply moving is the book written by Marco Ramirez, nominated for a TONY for Best Book of a Musical. The way he weaves the story and connects it to the characters' lives, their emotional path and decisions is so clear and strong that when a musical number (an original song from the Buena Vista Social Club is performed) that song--sang completely in Spanish--soars in the air with meaning and emotional gravitas. Yes, the music is contagious and uplifting but the meaning behind the songs are far more emotional and weight heavy on us as we connect each musical number to a situation created by the character's lives. 

Through the witnessing of the characters' lives in 1958 and the band reunion in 1996, we not only witness great musical art in the making but we also learn about racism, social class, discrimination, colorism, revolt, and about a Cuba that is about to become what it is today. To me, though, what truly grabbed me from the start and did not let me go, not even after I left the theater, was the choreography by Patricia Delgado and Justin Peck (also nominated for a TONY), which not only combines the sensuality and rhythms of music genres such as son, boleros, and danzón, but also the internal emotional turmoil the characters are experiencing. 

When Young Ibrahim, played by Wesley Wray sings for the first time, the song, "Bruce Maniguá" the music and choreography are combined with rhythms and movements that invoke the harshness of slavery and the realities of being a black person, who might be "free" but still is oppressed because of their skin color. It is here, in this song, with a choreographed dance filled with sensuality and raw, sharp movements, where without noticing, tears ran down my face. From then on, I completely surrendered my entire being to the musical experience and storytelling. All this is due because the story is very moving, emotional, and palpable, and because of the characters' struggles and situations grab you from the start and do not let you go until they are done with their stories, their dancing, and their singing. 

But the story, the singing, the acting, and the dancing are not the only stars of this musical. There is also lighting, costumes, sound, and set design. All of these technical elements come cohesively together to highlight the musical's themes and messages, and to create the mood, the atmosphere, and focus needed within each scene and throughout the story. Every technical element is not only designed with clarity and purpose but it is also executed with exactitude, enhancing the power of the music, underlining the beauty of the story, and highlighting the poetry of the songs. 

The musical received 10 very well-deserved TONY nominations that also include, best director, best orchestration, best scenic design, best costume design, best lighting design, best sound design, and of course, best musical. I have not had the opportunity to see all the musicals that were nominated for best musical category. Unfortunately, I won't see them all, but I can comfortably say that Buena Vista Social Club is in fact, a very strong contender in the Best Musical Tony Award category. As a side note, the musicians who make up the musical's band "Buena Vista Social Club" will receive a Special Tony Award for their work. 

Whether the musical receives the big prize or not, what it is needed now is a pro-shot recording of this production. There is so a lot to learn and discuss from its music, songs, characters, story, and from these great Cuban artists, as well as from the creators of the show and the artistic team, that seeing the show once is not enough. And because of its importance and influence in the music world, the musical needs to be accessible to every one around the world. "Every Cuban Song has a Story to Tell" is a caption found in an program's insert that contains a letter from Juan de Marcos and explanations of the songs. As a Broadway musical, Buena Vista Social Club, like the album from 1996 and the documentaries from 1999 and 2017, deserved to be recorded and preserved for future generations to witness, to enjoy, but overall, to understand how these wonderful musical artists created music that connects with the world. 

A taste of the energy of the show! 

00061: SMASH, BROADWAY MUSICAL

Another visit to NYC and another round of Broadway musicals to enjoy, well, at least that is the hope. The first show to see this week was the musical SMASH, which is based or inspired, or whatever, on the hit TV series with the same name. It is being produced at the Imperial Theatre on 45th Street.

SMASH is a musical about the making of a musical, in this case, the making of "Bombshell: The Marylin Monroe Story." Unfortunately for "Bombshell," the music composer and the lyricist, a married couple with a long list of flops, aren't writing very good songs and/or scenes. Or maybe they are writing very good songs and/or scenes but the director of "Bombshell" and the leading actress in it don't think the songs and/or scenes are that good. Or maybe everything is good but only the closing number is not good. Or maybe the bad thing is the director who has no guts to do his job, or the leading actress with a diva complex, or the choreographer who is also a great singer and ends up taking over the main role, despite the fact they have an understudy, or maybe the fault lands on the composer and lyricist who are fighting all the time because they are frustrated and one of them is going to therapy and becoming an alcoholic. Or maybe... but their show is "almost there. Almost." 

Unfortunately for SMASH, it is exactly the mess and frustration found within the making of "Bombshell" that makes this TV series turned musical into an underwhelming experience that still feels as if it was in out-of-town tryouts. To be cleared, I am not comparing the TV series to the musical and I wasn't expecting the musical to even be like the TV series. These are two different medias and they need to be approached differently.

Within the plot of "Bombshell," mostly everyone complains about the "speaking scenes" not being funny, and "why are there speaking scenes in a musical when no one expects anyone to talk?," but ironically though, it is precisely these scenes within "Bombshell" that make the musical SMASH entertaining, not the songs or the dance numbers, either found within "Bombshell" or out of it. 

There were times when I felt that SMASH could had been better as a spoof/satire about the making of a musical. And by this I mean, that instead of an actual musical, it would have been better to create a satire about making a musical because believe me, the only fun part in SMASH as a musical, where the scenes within "Bombshell." Those "speaking scenes" within the musical were entertaining and laugh out loud funny. But the rest? The musical numbers? The ones within "Bombshell" and the ones in SMASH, they were underwhelming and quickly forgotten.

Like "Bombshell," SMASH is a real mess, which is also ironic. The song that is supposed to be their big highlight is "Let Me Be Your Star," but honestly it just doesn't do much and it is quickly forgotten. What I remember though is the performance of Caroline Bowman as she sings the song "They Just Keep Moving the Line." That song was a showstopper and the one that should have been the 11 O'Clock number, instead we get Robyn Hurder as Ivy Lynn playing Marilyn Monroe singing 'I Never Met a Wolf Who Didn't Love to Howl!" and that song is visually and energetically a flop. 

But just because SMASH is not a good musical--it only received two TONY nominations by the way, it doesn't mean the actors are not good. They all did a fantastic job, especially Brooks Ashmanskas, as Nigel, the director of "Bombshell," (Nominated for Best Actor in a Musical) and I truly thought Caroline Bowman deserved a nomination too. Instead, while the choreography wasn't that spectacular and it felt boring an flat, Joshua Bergasse received the nomination.

Overall, SMAH isn't a smash and I don't think it will ever become one either. It had the potential to become a great hit, but like the composer and lyricist in "Bombshell," the composer and lyricist in SMASH did what they had to do, with what they got. The book, although it had some funny and entertaining scenes within "Bombshell," wasn't that strong, and that makes SMASH, a wreck.  

00060: THE BROADWAY MUSEUM

Advertised as "an interactive and experiential museum that celebrates Broadway's rich history, starting in 1732," the Museum of Broadway is one of New York Cities' latest attraction. For tourists, it is a place where they can buy unique Broadway paraphernalia and learned a little about the 'in and outs' of theatre in general. For theatre enthusiasts and artists, the museum gives us an opportunity to rediscover a little more about theatre history, the way it is done, find theatrical gems (original photographs, original props, original costumers, original set designs, etc...)

The museum counts with three floors of historical information, pictures, facts, trivia, and show installations that make you feel as if you were either on stage, or in a movie set. This installations are also very instagram-able. The installations though, are only about specific Broadway musicals that have either made a difference in theatre history or have influenced popular pop culture. 

There is an installation for the original production of Oklahoma! This musical changed the course of how musicals were written and thanks to its creators, a new genre musical theatre was born: The integrated musical. Although Show Boat was the first show to do that, Oklahoma! is the musical that marks the beginning of the Golden Age of the American Musical. 

Likewise there are installations for musicals such as West Side Story, Cabaret, Hair, and The Lion King, among others. Throughout the museum and between the installations, visitors can follow, along the walls, the history and development of Broadway's plays and musicals. And of course, like everything else that is curated by one person or a group of people, those in charge get to pick what plays and musicals become the narrative of said history and development. I, for example, noticed that the only Chicano play EVER produced on Broadway, ZOOT SUIT by Luis Valdez, is not among the Broadway's historical narrative. I may sound bias, because I'm a Latinx Theatre Artist but, I think that if the Museum of Broadway is showing visitors the history and development of theatre, you would think that one play that represents a big population of the United States would be part of the narrative. 

I think one of the most exciting parts of the museum is the "behind the scenes" aspect of theatre-making, which it is titled "The Making of a Broadway Show," where visitors get to learn and interact with the mechanics of creating a script, a score, costumes, props, lights, etc... And then, of course, you have the exhibition of original costumes and props from famous musicals such as Cats, A Chorus Line, The Phantom of the Opera, Hamilton, and Rent, among others.  

For me, the most fascinating aspect of the museum, besides the history and development narrative, was admiring the miniature scale sets and theatre buildings of some Broadway musicals, such as Wicked and In the Heights. I'm sure there are others but I don't remember them. 

Overall, visiting the Museum of Broadway is a great experience for every theatre aficionado, theatre maker, and theatre artist.