Broadway looks a tad more colorful.

In part attributed to the transformation of a 1930s animated cartoon character popularly known as Betty Boop, the formerly black-and-white comic feature is now a musically engaging spectacle of the Great White Way.

Spotlighting the rainbow-enchanting Jasmine Amy Rogers, “Boop! The Musical” starts off in muted black-and-white settings.

It’s no secret that Betty’s universe encompassed the dullest gray, the bleakest black, and pale pure white.

The walls, managers, crew, entertainers, fabrics, etc, all dulled to resemble the familiar newspaper character the starlet yearns for change.

But remember that she was from the 1930s when a kaleidoscope had not yet imagined a spectrum.

However, despite the monotony of the atmosphere there, Betty dreamed of a more vibrant environment.

Let us call it diversity.

For argument’s sake, her dreams come true.

With clever conception from director Jerry Mitchell, by the second act, the Broadhurst Theatre becomes blindingly multi-colored.

In living color, the spectrum ranges from the deepest purple to the brightest ruby, lemon yellow, apple-green, orange, and mandarin shades, blues of all hues, and hybrids.

Right smack in New York’s Times Square, Betty, the dreamer, arrives in awe of her surroundings.

Gregg Barnes and Philip S. Rosenberg, the costume and lighting designers, must have had a field day conjuring ideas to perfect their tasks.

Needless to say, they nailed it.

Directed and choreographed by Jerry Mitchell, his inspiration may have been triggered by the fact that Betty has never been featured on the Great White Way.

Reports are that Esther Lee’s “Baby Esther Jones,” a Black Chicago jazz singer from the 1920s, may have been the original Betty Boop.

Allegedly, the Midwesterner used scat in her compositions with punctuations of “boop-oop-a-doop,” adding a signature to her jazz renditions. Or Mitchell is a creative genius whose mindful thoughts are that the Big Apple is excellent.

Yet, as evidenced by Tony awards for “Kinky Boots,” and nominations for the revival of “La Cage Aux Folles” the latter certainly applies.

Mitchell delivered eye candy, dazzled and mesmerizing in this musical to create an afterglow from the entire ensemble.

The Big Apple never looked more radiant or colorful.

When Betty transports from dull 20th-century black and white to the dazzling realm of the millennium, the explosion resonates with a recall of Christmas morning surprises.

That’s partially the storyline that has extended the cute cartoon to the greatest stage in America. There’s more: Betty taps sings, explores, and even falls in love.

How she becomes the latest immigrant to arrive here is another story. But from her lovely, beloved, charmed lifestyle, Betty makes “Boop” the Broadway attraction to marvel.

Black Family Finds “Purpose” On Broadway

Claudine Jasper (LaTanya Jackson) has always known her sense of purpose.

Wife to Solomon (Harry Lennix) and mother to Junior (Glenn Davis) and Nazareth (Jon Michael Hill), she strives to keep up appearances and maintain a perfect household.

Her domicile exudes eloquence.

Her clothing stylizes fashion.

Her husband represents success in politics.

A calendar keeps her current on the social manifest of engagements.

Until one dinner when Aziza Houston (Kara Young) unintentionally exposes her hidden skeletons. Uninvited and clueless about the pretenses, Ms. Houston colludes with daughter-in-law Morgan (Alana Arenas) to blow the house down.

In a dramatic Broadway production titled “Purpose,” now playing at the Hayes Theater, audiences can take a peek into the facade created by the matriarch. The Jasper family exudes credibility. They epitomize pretentious neighbors deluded by their fantasies.

In addition, the set is inviting.

The narration — is exceptionally engaging.

And the fact that Phylicia Rashad makes her directorial debut with this production makes this a must-see.

Catch you On the Inside!