Jasmine Amy Rogers Brings Betty Boop to Life in ‘Boop! The Musical' on Broadway
For 'Boop! The Musical' star Jasmine Amy Rogers, Betty Boop was 'always in the background of my life somewhere,' says the dynamic Broadway lead. 'I always knew who she was because she's in our pop culture,' she adds. 'But I definitely didn't know her the way I do now.'
Rogers explored almost a century of Betty Boop lexicon, from the character's catchphrases to signature poses and coquettish red-lipped pout, while working to bring the character to life onstage in 'Boop! The Musical.' The ubiquitous character, who first appeared in 1930, has gone through several cultural resurgences throughout the decades.
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'I just fell in love with her so deeply because I think she is — at least for me, and I think for a lot of people — the embodiment of everything that a woman is capable of,' says Rogers, who originated the role during the show's world debut in Chicago. 'She believes in a strong right and wrong, and her moral compass is unwavering, and I love that about her. It encourages me to be brave in my daily life.'
The musical opens with Betty Boop starring in her own fictionalized gray-toned world, frozen in time. Looking for a break from her unwavering fame, Betty travels (with the help of a gadget invented by supporting character Grampy) to the current day 'real world' of New York City, landing in a technicolor Comic-Con where Betty Boop discovers that she is still popular there too, just as cosplay lore. In New York she quickly befriends a teen girl, stepping into the role of personal coach-slash-cheerleader.
The show, which features a splashy ensemble cast, opens with a large tap dance routine that almost stood in the way of Rogers getting the role — her first dance audition fell flat.
'The hardest thing going into it for me was the dance and the physicality,' says the 25-year-old actress, who ended up getting a second shot at the part. 'I was really intimidated for a while, but once I decided that I really wanted it, I just had to take it into gear. I went to tap classes and I just got myself back into shape to do what was being asked of me,' she adds. 'Betty is a cartoon, but she's also drawn in such a specific way. So the way she moves, the way she walks, the way she stands, it all matters. And that was something that was really, really nerve-wracking to me when I started out.'
Less intimidating, but still nerve-racking, was the character's high-pitched voice, which has since become second-nature for Rogers. 'When I was figuring it out, I was so nervous about it that I didn't wanna practice it even by myself at home because I was almost embarrassed,' she says, adding that she leaned on her childhood aptitude for cartoon impersonations.
'It's always been ingrained in me to kind of be a character. I've spent most of my life being that cartoon character, and trying to cool it down to go through my everyday life so I'm not so out of whack,' she says. 'I think a lot of theater kids come from a place like that.'
Rogers, who grew up in Texas, began dancing and singing at a young age, and fell in love with musical theater after auditioning for a local community theater performance of 'Peter Pan.'
'I ended up getting a role in Tiger Lily's tribe, in the ensemble. But it was really an eye-opening moment for me where I was like, I'm getting to sing, I'm getting to dance, I'm getting to have fun,' says Rogers. 'I'm getting to do all these things that I really, really love, and I'm getting to do it on stage and I'm obsessed. From that moment on, I just was hooked on it. And I've been doing it since.'
After high school, Rogers moved to New York to attend the Manhattan School of Music, and after graduation starred in several regional musical productions and as Gretchen Weiners in a national tour of the 'Mean Girls' musical in 2022.
With the 'Boop!' opening night behind her — and Tonys Awards season still ahead — Rogers is looking forward to finding new aspects of Betty Boop to explore onstage, and continuing to connect with cross-generational audiences in what's already proved to be a life-changing role.
'[Betty] has changed the way that I move through the world,' adds Rogers. 'I'm just a little bit more of a positive person lately, because I'm so full of joy and love.'
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Boston Globe
11 hours ago
- Boston Globe
Where do you recognize that Tony-nominated actor from?
If you tune in to the Tony Awards ceremony Sunday night on CBS or stream it using Paramount+ with Showtime, you may notice faces you know you've seen on TV, but where? Take, for instance, Mass. native Jasmine Amy Rogers. The actress had a massive breakthrough starring in 'BOOP! The Musical,' for which she's been nominated for best actress in a musical. And while you should be swiftly learning her face and name so that you can brag that this rising star is from the Bay State, if you find yourself wracking your brain for what you know her from on Sunday, you might have seen her in a 2019 episode of the demonic detective show 'Evil' called '7 Swans a Singin'.' Advertisement Or maybe you recognize Andrew Durand, currently starring both alive and then dead in 'Dead Outlaw' on Broadway (theater critic Don Aucoin Glenn Davis, nominated for best featured actor in 'Purpose,' was in an episode each of '24' and 'The Good Wife,' but ' For my personal 'hey, I know that guy!' moment, I offer Gabriel Ebert, nominated for best featured actor in 'John Proctor Is the Villain,' who recently appeared in four episodes of the Brian Tyree Henry Apple TV+ show ' Of course, seven episodes of a show that had only 10 per season is enough to make a pretty lasting impression. The prototypical New York City theater actor role is a single episode of 'Law & Order,' playing either a killer or a victim. After all, enough TV success tends to lead to stage actors departing for Hollywood altogether. Advertisement Or there's Lisa Weidenfeld is an arts editor at the Boston Globe. Lisa Weidenfeld can be reached at
Yahoo
14 hours ago
- Yahoo
And just like that ... we're obsessing over Carrie Bradshaw's style again
When Sarah Jessica Parker first met with the Sex and the City costume department ahead of the series premiere in 1998, two items sat on a couch awaiting her inspection: a vintage clutch and a vintage fur. To Molly Rogers, costume designer for both SATC and its spinoff, And Just Like That…, those items instantly set the tone for years of fashion to come. 'It wasn't like we went to Barneys,' Rogers tells Yahoo Entertainment. The purse and coat, purchased at a downtown consignment store, could only have been found by a true fashionista who embraced the eclectic. Parker's Carrie Bradshaw is the ultimate Cinderella story — an aspirational romance in style and substance. The character didn't become an instant icon by following the rules. Instead, Carrie invented a style all her own: showing up for picnics in dirndls, wearing belts around her bare midriff and pairing $5 tutus with stilettos that most of us could only dream of purchasing. That playful, seamless high-low blend — thrift store finds paired with designer couture — is her fashion fingerprint. It endures to this day, as young shoppers scour their local thrift stores for treasures to pair with more modern finds. Maiia Krylova, founder of the popular Instagram account @carriebradshaws_outfits — which meticulously tracks down items from Carrie's closet — believes the character's signature style is 'the ultimate expression of fearless individuality and emotional storytelling through fashion.' 'She didn't dress to impress others or to follow rules; she dressed to express exactly who she was at that moment,' Krylova told Yahoo Entertainment. Nevertheless, Carrie's fashion maximalism seems to be hitting differently these days. Her outfits on And Just Like That…, the sequel series to SATC, have repeatedly gone viral, and not always in a good way, as fans scrutinize Carrie's giant hats and pigeon purses and declare them over-the-top. But why all the sudden pearl-clutching over the woman who once wore a bird on her head to her own wedding? Isn't all of this in character? One could attribute a healthy portion of the critiques to ageism. 'People really did not want the girls to change' in AJLT, Rogers says. 'They want to keep them in this time capsule, where Carrie's at the gay club with the bandana around her arm and a see-through tank on.' Now in her 50s, some might think it's time for Carrie to give up the wacky accessories and give Chico's a try. But viewers' sudden heel-turn might stem from deeper factors as well. By all accounts, Carrie's specific approach to dressing herself should be a huge hit right now. "Loud luxury" is 'in' and has been for years. Think: fluffy furs, bold animal prints, conspicuous logos and clothing in rich shades of red and emerald green. Productions like The White Lotus and Another Simple Favor have flaunted an ostentatious style, and as the Cut notes, artists like Chappell Roan and Doechii have also embraced (and subverted) the "boom boom" aesthetic of the '80s with playful power suits. That's not the only Carrie-coded trend that's surging right now, either. There's also fashion maximalism, which, like loud luxury, often thrives during times of economic uncertainty. On runways and on TikTok, people are going all in on high-concept outfits, playful accessories and lots and lots of layers. Carrie and her hybrid wardrobe are just the tip of the iceberg when it comes to SATC's fashion influence. Consider also younger generations' dedication to curating hyper-specific 'aesthetics' as a way to wordlessly introduce themselves to the world. What was Carrie's BFF Miranda Hobbes (Cynthia Nixon) if not the original 'office siren' in a power suit? Meanwhile, Charlotte York (Kristin Davis) had the 'old money aesthetic' on lock in pearls and twin sets, and the brash, sexy Samantha Jones (Kim Cattrall) was basically the "boom boom" queen, always wearing her wealth and power on her immaculately tailored sleeve. When it came to personal style, Rogers says each of the four main characters' 'lanes' was clearly defined and easy to articulate. SATC costume designer Patricia Field often described the show as 'the first moving fashion magazine,' Rogers says, with Carrie as its cover girl. With that in mind, it's even easier to understand why the core four each have such distinct wardrobes. 'We dressed them, in the beginning and now, a little more heightened than normal-life reality,' Rogers says, 'and I think that has a lot to do with curating a look by an aesthetic.' Decades after the original show's release, Krylova can draw a direct line from its approach to style to the shopping habits of younger generations today. The show 'showed us that style wasn't just about looking good; it was about telling the world who you are without saying a word,' she explains. Each generation has taken slightly different lessons from that ethos. 'Generation Z, for example, fully embraces the show's fearless experimentation,' Krylova says. 'They're not afraid to color clash, mix high fashion with second-hand finds and wear something purely for the drama, even if it breaks all the so-called 'fashion rules.'' Meanwhile, millennials 'approach the show's influence from a more lifestyle-focused perspective. They deeply connect with the emotional undertones behind each character's wardrobe choices. For them, fashion isn't just about being seen; it's about being understood.' Elizabeth Castaldo Lundén, a research fellow at the USC School of Cinematic Arts who has published books and articles about fashion, media and communication, explains to Yahoo that film and TV have shaped consumers' understanding of fashion for more than a century. For example, the experimental films that preceded the silent era often showcased Parisian fashions, exposing American women who could never attend a runway show to the trends of the time. The fashion tie-ins to films of the 1920s and '30s foreshadowed the product placement deals to come, and American television, in particular, stemmed directly from the advertising industry — which made it the perfect vehicle to inform consumer choices. The 1980s were a formative time, Castaldo Lundén says, as costume departments partnered with department stores to not only sell certain dresses seen on shows like Dynasty to the middle class, but also to sell patterns for those ensembles to audiences who could not afford the ready-made garments. Years later, Sex and the City perfected the art form with prolific product placement both in the original series and subsequent films — making itself essentially synonymous with brands like Jimmy Choo and Manolo Blahnik. 'They are not only selling the fashions in the show,' Castaldo Lundén says. 'They are selling the idea that womanhood comes through the out-of-control consumption of fashion.' Devout fans might see SATC's influence a little differently. 'Television has always had a profound impact on how viewers see fashion because it doesn't just show clothes, it tells stories through them,' Krylova says. 'Unlike fashion shows or magazine editorials, which often feel unattainable, television brings fashion into real-life narratives. Viewers don't just admire what their favorite characters wear; they emotionally connect with them.' People's favorite shows don't just influence the clothes people want to wear, according to Krylova; they also shape why they want to wear them. 'And that's where the real power lies — in showing viewers that fashion isn't just about trends; it's about telling your own story through the choices you make every day,' she says. And Just Like That… costume designer Danny Santiago, who also worked on the two SATC movies, noticed that a lot of younger audiences who've newly discovered the show find inspiration in its '90s and Y2K fashions. 'They want to have that sort of aesthetic to them,' he says, 'so they do seek that type of look out — the certain type of handbags and the way that the skirts are falling, and the crop tops and all that sort of stuff, layering … I see it on Instagram all the time,' he tells Yahoo Entertainment. In that sense, we could call Carrie Bradshaw our first fashion influencer. So why are self-appointed style critics on social media hating on her gonzo outfits? The simple answer is that many people hold an antiquated, narrow-minded view of how 'women of a certain age' should dress and behave. Rogers and Santiago certainly heard more than their fair share of these opinions in the lead-up to the series premiere of And Just Like That … in 2021. 'We got so many questions about, 'What are you gonna do with them? They're at a certain age,'' Rogers recalls. 'I am at that certain age … and I was like, 'I don't know why we would dress them like they'd had lobotomies.'' Santiago agrees that the idea that older women should abandon their personal styles is 'old-fashioned.' Maybe women felt this way 30 years ago, he posits — 'like they needed to become something else, in a way of maturing as who they are in their lives. But I feel that [idea] doesn't exist anymore.' But to some fans, Carrie's wardrobe has slowly crept away from its original genius. While Krylova believes that the writer's personal style evolved beautifully in the original series, subsequent appearances of the character in film and on AJLT are a different story. In those productions, she says, 'Carrie's style gradually wore itself out. It became less and less realistic and more and more theatrical, eventually turning into something completely unsupportable.' The way Krylova sees it, she and other fans began shying away because Carrie's 'fits 'had become too theatrical and out of touch with reality.' Nevertheless, she admires the way that Carrie 'continues to challenge the outdated notion that women should remain invisible, modest or reserved as they grow older.' Love them or hate them, Krylova says Carrie's new outfits have 'sparked conversations about women's freedom and the right to dress however they want at any age. And in that sense, Carrie's fashion still does exactly what it was always meant to do — provoke, break boundaries and, most importantly, remind us that self-expression has no age limit.' There might also be a third reason that Carrie's wardrobe is not playing quite as well with its target audience. In the original series, Carrie's unique fashions amplified her position as an outsider — which made her more relatable to an audience that, for the most part, would also have felt out of place among New York's high society. Now, she's as wealthy as anyone else, with the palatial Gramercy Park townhouse to prove it. Within that context, her expensive, enviable wardrobe could feel like an expression of a social standing that viewers will never achieve. In the original series, Carrie's high-low wardrobe mirrored the way she stood with one foot in each of two worlds. On one hand, her spending was the stuff of fantasy. 'It wouldn't be possible to acquire that closet — even in terrible debt — without going bankrupt,' Castaldo Lundén says. At the same time, she says Carrie's wardrobe echoes a concept that first emerged in the 1800s: Those from outside the aristocracy often adopt wardrobes that mimic that class in the hopes of joining it. Men would do so in order to do more business with old money, while women did it in order to marry rich. Just look at who Carrie married. By achieving her ultimate fantasy with Mr. Big (Chris Noth), Carrie completed her Cinderella story — the one that made viewers fall in love with her in the first place. That might have fundamentally shifted the way audiences relate to her, clothes and all. The good news? Carrie has never dressed for anyone but herself. Rogers and Santiago argue she wouldn't give anyone's wardrobe criticisms a second thought. 'If real-life Carrie was walking through the park and people were commenting on her hat like they comment on Instagram, I think she'd ignore it,' Rogers says. 'She'd ignore it,' Santiago agrees. 'Totally.'

Hypebeast
15 hours ago
- Hypebeast
Lil Yachty Samples Maggie Rogers' "Alaska" on "Murda"
Summary EvenLil Yachtyloves 'Alaska' byMaggie Rogers. The song that arguably put Rogers on the map – afterPharrelllistened to it and loved it within seconds – is what Yachty chooses to sample in his first solo single of 2025, 'Murda.' 'Murda''s chorus comes carried by an interpolation of the beloved Rogers'Heard It In A Past Lifeoffering. 'They know when we get to the city they all get alerted, midnight bail / Pull up, what's that smell? / I'm that sh*t with the house on the hill / I just put a lil b*ch on a / I just put a lil b*tch on a pill,' he spits. Stream 'Murda' – out everywhere now.