In the wake of the phenomenal success of the 2023 film "Barbie," "Boop! The Musical" seeks to reintroduce Betty Boop, the classic Depression-era cartoon character, to modern audiences.

However, while Barbie has enjoyed a longstanding cultural presence, Betty Boop represents a nostalgic silhouette from the past, characterized by her flapper style, exaggerated baby-like features, and the playful catchphrase “boop-oop-a-doop.”

"Boop!" embarks on a whimsical journey that flips between Betty’s animated existence and a version of the real world, specifically the realm of musical comedy.

The book by Bob Martin, known for his work on other hit shows, unfortunately lacks the sharp wit and innovation seen in productions like "The Drowsy Chaperone" and "The Prom," leaving audiences with a script that entertains but often feels derivative.

At the start, we enter Betty’s black-and-white world, where she juggles various personas with charm and humor.

Jasmine Amy Rogers delivers an impressive Broadway debut, expertly capturing Betty's essence as she transitions from a cowgirl to a pilot to a damsel in distress within a catchy opening number. Yet when a reporter prompts Betty to consider her true self, her vague answer—“Whoever you want me to be”—sets the stage for her mid-show existential crisis.

In a bizarre turn of events, a whimsical device created by Grampy, her quirky inventor friend, catapults Betty into a vibrant 2025 Manhattan.

Here, she finds herself at a Comic Con, exploring her vibrant surroundings alongside a teenage super-fan named Trisha and Trisha's jazz-playing brother, Dwayne. As they bond, Betty experiences a whirlwind of emotions, from delight in the lively pop culture landscape to confusion about her own identity.

Back in Toontown, chaos ensues due to Betty’s absence, spurring Grampy and her adorable canine sidekick, Pudgy, to embark on a mission to bring her back.

The contrast between the animated world and the real world is supposed to be humorous, yet at times it veers into exhaustion, as the cartoon antics become predictable, while the real-world drama lacks depth.

Amidst the light-hearted plot developments, we encounter subplot threads featuring Grampy and his long-lost love, Valentina, and the ambitious Aunt Carol, who manipulates Betty’s newfound fame for political gain.

These narratives do little to enhance the emotional core of the story, often feeling like distractions from Betty's journey of self-discovery.

Despite its script falling short in areas, "Boop!" shines when it comes to music and choreography.

The energetic choreography by Jerry Mitchell elevates the musical numbers, showcasing a lively ensemble that brings rhythmic life to the stage. David Foster’s catchy score, paired with vibrant lyrics from Susan Birkenhead, delivers an array of delightful musical moments.

Rogers truly embodies Betty with warmth and charisma, deftly illustrating her character's complexity.

The supporting cast features strengths as well; Melham’s Dwayne may be simplified but captivates with great vocals. Angelica Hale’s Trisha exudes enthusiasm and vocal prowess, while Faith Prince and Erich Bergen provide solid comedic support.

“Boop!” illustrates that while revamping classic cartoons can attract attention, it must be done with careful consideration and execution to resonate with audiences deeply.

With colorful visuals, spirited dance numbers, and infectious songs, it captures moments of nostalgia, ensuring a memorable experience for both young fans discovering Betty's charm and adults reminiscing about the character's legacy.

Ultimately, it leaves us to ponder: Can the sass of a vintage flapper truly reinvigorate today’s theater world?