#Images of a black betty boop code#

The world's largest comic strip site for online classic strips like Calvin and Hobbes, Baby Blues, Non Sequitur, Get Fuzzy, Luann, Pearl Before Swine, 9 Chickweed Lane and more! 15 THE BLACK MAGIC OF SUPERGIRL. It’s gonna be fun.View the most popular comics on. We have some of the greatest dancers in a musical that I’ve had in a long time, which is important because there’s a lot of dance, particularly in the first act. Rachelle Rak and Jon Rua are my associate choreographers who are laying it down fast and thick. Is there anything else that you’d like to share about the show? I go home after every rehearsal and I go, What would Michael have thought? What would Jerry have thought? What would Ron Field have thought? What would Onna White have done? Right? I mean, these are all people I worked with and collaborated with and assisted when I was a dancer myself. They’re in the room with me every time I work on a show. Has BOOP! been an opportunity to tap into those skills? You’re experienced in historic dance reconstruction, through your work on Jerome Robbins’ Broadway and other projects.

Style is the last thing Jerry thought of, story was the first thing he thought of, and humor was right up there at the top, too. I worked with Jerry Robbins and Michael Bennett: two great examples, right? There aren’t many similarities between the steps in West Side Story and the steps in Fiddler on the Roof, or the steps in The King and I, other than the fact that they were done by the same choreographer. It’s almost always that way for me: story first, steps and style second and equally. My impression, based on shows I’ve seen and interviews you’ve given, is that you want the choreography to serve the storytelling. I think of most choreography as some balance of attention to steps and to movement qualities. When BOOP! came along I thought, Do I call Bill Berloni and get a real dog? And then I thought, No-I call Phillip and get a marionette. Phillip and I have known each other for quite a long time. I went looking for the character in the story that was written, and finding out how best to portray that character was how I came up with what’s in the show.īOOP! also features a marionette by Phillip Huber, whose work on Being John Malkovich is extraordinary. Though I think people will make those connections and find those reference points, none specifically were intended. Does the show nod to the many artists who are part of her lineage? She was never afraid of that.ĭozens of performers have portrayed Betty Boop in voice or image since she first appeared. Is she the blueprint for this show’s Betty?

#Images of a black betty boop code#

The promotional images suggest the early-1930s, pre–Hays Code Betty, with the garter belt and the hoop earrings. I noticed BOOP! is being marketed as a family-friendly show, which surprised me. So it comes to life, so to speak, but it stays in a black-and-white world and it stays kind of two-dimensional. It starts as if you’re watching a black-and-white short, and then you go from watching it to being on the set where the short is being made. The opening number is a gigantic tap routine.

I did see a lot of the shorts, not when I was young but when I was in college.Īre you borrowing any movement from the original cartoons? My aunts had Betty Boop this and Betty Boop that. Do you recall when you first encountered Betty Boop?