Boop-Oop-a-Doop—and Bravo to Broadway’s Newest Star!

Photo: Matthew Murphy

by Chris Peterson, OnStage Blog Founder

If you’ve spent any time around me, you know I’m a fan of musical theatre that swings for the fences—shows that sparkle, that lean into joy, that embrace being larger than life. And right now, Boop! is doing just that… and getting the reviews to prove it.

And honestly? That makes me so happy.

Betty Boop is such an unexpected Broadway heroine. A 1930s cartoon flapper, all big eyes and boop-oop-a-doop sass? Turning that into a heartfelt, full-blown musical in 2025 takes guts. But somehow, this team pulled it off—with an original score by David Foster (yes, that David Foster), lyrics by Susan Birkenhead, and a book by the brilliant Bob Martin. It’s fun, it’s fearless, and from everything I’ve read, it’s just the kind of glittery, joyful, feel-good show Broadway has been craving.

Time Out New York called it “an old-fashioned candy shop of a musical” that “leaves you grinning.” The New York Post said Jasmine Amy Rogers, making her Broadway debut as Betty, is “a stunning star.” And my personal favorite from New York Theater: “Rogers is making a spectacular Broadway debut… with the oversized head, glistening spit curls and breathy, baby-like voice.”

We talk a lot about what Broadway “needs”—more innovation, more diversity, more risks, more fun. Boop! seems to check every one of those boxes. It’s original. It’s led by a woman of color making a star-is-born entrance. It’s got a cartoon character literally stepping off the screen and into her own story. And most importantly—it looks like it’s a blast.

And look, I’m always here for the deep, challenging, revolutionary theatre. But I’m also here for the joy bombs. For the shows that say: yes, life is hard, but sometimes we need to dance our way through it anyway. Just like last year’s Heart of Rock & Roll, Boop! doesn’t pretend to be something it’s not. It’s campy, colorful, and unafraid to have a good time. And judging by the buzz and the reviews, it earns every bit of it.

In a season where original musicals are still fighting for space, seeing a show like this win—with critics, with audiences, with the Broadway community—just makes my theatre-loving heart soar. It reminds me that there’s still room for big-hearted storytelling, for new voices in old costumes, and for musicals that trust in their own joyful absurdity.

I’ll be seeing Boop! as soon as I can. But in the meantime, I’m just thrilled that it’s getting the love it deserves. Broadway needs shows like this—shows that celebrate individuality, ambition, and finding your voice in a world that often wants you to stay silent (or in black and white).

So here’s to Betty. To the theatre-makers who aren’t afraid of a little razzle-dazzle. And to every person out there who just wants to sit in a velvet seat, hear the overture start, and believe in magic again.

Boop-oop-a-doop—and bravo.