12/27/2023 0 Comments Betty boop in colorTony Award®–winning director/choreographer Jerry Mitchell ( Kinky Boots, La Cage aux Folles, Hairspray) brings the Queen of the Animated Screen to the theater with celebrated multiple Grammy® Award-winning composer David Foster (“I Have Nothing,” “After the Love Is Gone,” “The Prayer”), Tony Award-nominated lyricist Susan Birkenhead ( Working, Jelly’s Last Jam), and Tony Award-winning bookwriter Bob Martin ( The Drowsy Chaperone, The Prom).įor almost a century, Betty Boop has won hearts and inspired fans around the world with her trademark looks, voice, and style. BETTY BOOP! That sassy-sweet champion of empowerment, that spit-curled icon of joy, that songstress of strength comes alive in BOOP!, the new Broadway-bound musical-comedy extravaganza. Please welcome to the stage, LIVE and at the CIBC Theatre for the first time ever. Seat locations and the number of tickets awarded by the lottery are always subject to availability. Broadway In Chicago Illinois High School Musical Theatre AwardsĪ digital lottery for a limited number of $25 seats will be held for every performance of BOOP! THE MUSICAL.Broadway Playhouse at Water Tower Place.Seuss’ How The Grinch Stole Christmas! The Musical Her magical dress transformation has her rags slowly disappear, revealing a modest long undergarment, which promptly transforms into skimpy, lacy lingerie before the ballgown forms over it. And while this Hays Code-era version of Betty is more demure and less of a sex symbol than in her notorious pre-Code cartoons, there's still a hint of the Fleischers' classic risqué humor. During the slipper-fitting, one Stepsister's big toe grows a face to glare at her as she tries to cram it in. (A moment that's either charming or creepy, depending on your viewpoint.) At the ball, Cupid wallops the stuffy Prince with a mallet when he sees Betty/Cinderella, sending him sliding headfirst down the staircase to greet her, and a caricature of popular crooner Rudy Vallée appears to sing the theme song. Animals and inanimate objects talk and sing here and there: even the pumpkin, just before being turned into a coach, grows a jack o'lantern face and sings about how glad he is not to be carved up for a pie. But the cartoon still finds room for some irreverent jokes, modern references and classic surreal Fleischer gags. (Sometimes it even simplifies it – for example, there's no Stepmother in sight, only the two Stepsisters.) Dialogue is sparing, with most of the story sung rather than spoken, and the musical style is gentle and sweet, with the waltz-time theme song, "I'm Just A Poor Cinderella" (a guaranteed ear-worm) composed in the style of an old romantic parlor ballad. It faithfully retells the familiar tale in simple, broad strokes. In no way a definitive Cinderella, but endearing. Technical innovations aside, this is an endearing cartoon short. Cinderella's ride in her coach to the ball and her whirling with the Prince on the ballroom floor are especially striking examples of this technology. This cartoon also makes good use of the stereoptical camera, Fleischer's equivalent of Disney's multiplane camera designed to give the animation more depth: some of the aforementioned lavish backgrounds were actual, physical 3D models, rotated behind the animation cells. To show off the color to the fullest, even Betty/Cinderella's hair is colored red instead of its usual black. But even with this limited palette, they create a charming little fairy-tale world with what another reviewer has described as a stained glass-like quality, and with lavishly detailed, beautiful storybook backgrounds, even though most of the characters are drawn in Fleischer's usual bouncy, cartoony and slightly grotesque style. Because Disney had an exclusive contract with Technicolor at the time, though, the Fleischers used Cinecolor instead: a two-strip process which produced only two colors, red and blue-green.
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