Following closely on the success of the 2023 blockbuster film “Barbie,” the new production “Boop! The Musical” endeavors to reimagine another iconic pop character for today's audiences. Where Barbie has enjoyed a pervasive cultural presence for decades, Betty Boop is a character rooted in the tumultuous era of the Great Depression. She embodies the essence of a jazz-age flapper, and her charm, attitude, and style are distinctly reflective of her time.

Created by a group of male animators, Betty Boop emerged as a slightly surreal figure, characterized by her oversized, doll-like head, bee-stung lips, voluptuous figure, and a playful voice that is punctuated by her signature catchphrase: “boop-oop-a-doop.” While many recognize her today more as a nostalgic curiosity or perhaps a balloon in the Macy's Thanksgiving Day Parade, her transition from a beloved cartoon character to a modern musical icon is intriguing.

Much like “Barbie,” “Boop!” embarks on an imaginative journey of transformation, featuring a lively score, impressive dance sequences, and delightful design elements. This combination often suffices for mainstream live entertainment that targets family audiences and promotes themes of female empowerment, while also holding significant merchandising potential. However, at times, it risks feeling like a mere imitation.

The book for the musical, penned by Bob Martin, deftly navigates between Betty’s animated universe and the contemporary sphere of musical comedy—a space that, it must be noted, is not entirely rooted in reality. Unfortunately, Martin’s script lacks the sharp wit and originality that marked his previous works, such as “The Drowsy Chaperone” and “The Prom.” In “Boop,” the humor feels sporadic and only occasionally elicits genuine laughter, relying too heavily on puns and whimsical dialogue.

Martin undoubtedly had a formidable challenge ahead of him. Betty Boop, while iconic, is a character that lacks depth, often flaunting numerous personas, which is a sentiment she shares with Barbie. This multiplicity of identities is cleverly addressed in a fast-paced opening number set in the black-and-white world of Fleischer Studios from the 1930s, showcasing the retro designs by David Rockwell.

In this opening, Betty, portrayed by Jasmine Amy Rogers, who is making an impressive Broadway debut, energetically performs a number for her latest animated short. As she transitions through various personas—cowgirl, pilot, and even a damsel in distress—she ultimately finds herself grappling with an existential crisis when a journalist questions, “Who is the real Betty Boop?” Her uninspired response, “Whoever you want me to be,” leads her into a state of introspection, as she becomes disenchanted with the demands of showbiz.

In the whimsical realm of cartoons, the possibilities are endless. An imaginative device invented by her quirky co-star Grampy, played by Stephen DeRosa, transports Betty to a vividly colored 2025 Manhattan, where she lands amidst the buzz of a Comic Con convention, filled with enthusiastic cosplayers. Here, she forms a friendship with Trisha (Angelica Hale), a devoted Betty Boop fan, and encounters a potential romantic interest in Trisha's brother, a jazz musician named Dwayne (Ainsley Melham).

Back in Toontown, panic ensues over Betty's sudden disappearance. Grampy, along with her adorable dog Pudgy, a charming puppet skillfully operated by Philip Huber, is transported to present-day New York in an effort to rescue her.

While the shifts between the two worlds are intended to be playful, the frenetic energy of Toontown quickly becomes overwhelming, with slapstick antics, exaggerated expressions, and underwhelming punchlines. Conversely, the real-world segments do little to elevate the emotional stakes of the narrative.

The show also weaves in a tangential subplot involving Grampy’s reunion with Valentina (Faith Prince), an astrophysicist he met during a previous tele-trip, along with Trisha’s Aunt Carol (Anastacia McCleskey), who is managing the mayoral campaign of the unscrupulous Raymond Demarest (Erich Bergen). As Betty’s identity is revealed, Demarest attempts to capitalize on her popularity, creating further tension.

Will Aunt Carol outshine Raymond in the race? Will Trisha pursue her dream of art school while Dwayne secures a stable gig at a nightclub? And will Betty ultimately choose to return to Toontown? The audience’s engagement with these plot points hinges largely on their tolerance for corniness and their patience during the musical interludes.

It is during these musical numbers, however, that Jerry Mitchell’s choreography shines, featuring the ensemble in dynamic, energetic routines. The score, crafted with music and arrangements by David Foster, lyrics by Susan Birkenhead, and orchestrations by Doug Besterman, is refreshing, lively, and enjoyable.

Rogers breathes life into Betty, effectively blending warmth, vulnerability, and determination, making the character approachable to modern audiences. The creative team deserves credit for the stellar design elements, including Sabana Majeed’s captivating wigs and hair design, Michael Clifton’s makeup, and Gregg Barnes’ costumes.

Melham’s portrayal of Dwayne, while somewhat two-dimensional, displays a captivating voice and impressive dance skills in numbers like “She Knocks Me Out.” Together, Betty and Dwayne deliver the stunning duet “Why Look Around the Corner” and the lively ensemble piece “Where I Wanna Be.”

Though Prince’s character remains somewhat ambiguous, she manages to elevate several musical moments. Bergen’s portrayal of a sleazy character bears resemblance to the drooling male caricatures depicted in Betty’s original cartoons. Young Angelica Hale, a finalist from “America’s Got Talent,” steals scenes as Trish, showcasing impressive vocal power, albeit sometimes overwhelming in delivery. In a humorous supporting role, Morgan McGhee injects levity into the production with her quirky interpretation of a newscaster.

“Boop!” demonstrates that while cartoon revamps can be an enticing novelty, to truly succeed, the production must be meticulously crafted and thoughtfully executed.