David Foster openly acknowledges his authoritative approach in the music industry. His firm leadership style has proven successful, earning him 15 Grammy awards and the admiration of his colleagues over the years. However, when it comes to Broadway, his rigid control was met with resistance.
Reflecting on his experience with creating “Boop! The Musical” at New York’s Broadhurst Theater, Foster admitted to initially struggling with the collaborative nature of Broadway compared to his usual dictatorship in record producing. Despite his initial challenges, he embraced teamwork and expressed excitement at the show’s debut, highlighting the finality of the production after opening day.
During a recent video call, the usually sophisticated 75-year-old artist was dressed casually due to airline mishaps that left him with limited wardrobe options in New York. Balancing his life between Los Angeles, where he resides with his wife Katharine McPhee and their young son, and the demands of the bicoastal production, Foster navigated the complexities of his dual lifestyle.
“Boop! The Musical” aims to modernize the iconic 1930s character Betty Boop for contemporary audiences on the Broadway stage. The storyline follows Boop’s quest for self-discovery as she navigates through ToonTown and the vibrant world of New York’s Comic Con in 2025. Jasmine Amy Rogers delivers a captivating performance as Boop, supported by Foster’s dynamic musical compositions and direction by Tony-winning Jerry Mitchell.
As the production neared completion, Foster found himself adapting to Broadway norms, including the readiness to discard even his best songs if they did not serve the narrative. Confronted with the dilemma of a beloved composition that did not align with the show’s direction, Foster made the unconventional decision to set it aside for potential future use.
Despite the challenges and unexpected turns in the Broadway process, Foster remains committed to creating quality music that transcends individual productions. As he continues to explore new projects, he embraces the idea that a good song will find its place, even if it means navigating the intricate world of musical theater’s creative decisions.
