Taking a Chance at Broadway in Chicago’s Digital Lottery
The Fall season is upon us. For sports people, that means they’re watching tv on a different day. But for those of us who were indoor children, musical theatre is in session! Thankfully there’s lots of great shows, but a new problem persists. You want to see too many shows this season (every season) and it’s expensive each time. But you may be in luck. For Chicago users, Broadway in Chicago has a ticket lottery for $30 tickets. But is it any good? Let’s play chair roulette!
Broadyway in Chicago’s Digital Lottery: What’s It all About?
If you want to save money on performances, there are rush tickets at $50 a pop (which is my backup). I always confirm it’s not an obstructed view, seat by the way. But I’ve been eyeing the digital lottery option that’s available for some shows. You enter within a timeframe noted and at 5pm, you get a thumbs up or down. Since this is a lottery, in terms of seating, you get what you get. There’s no way to ask for and change seats. Or even ask for another random seat. You have an hour to claim the tickets, by 6pm.
Please note, you enter the day before of the specific performance you’re aiming for. If you’re flexible on timing, you can try a few times. I understand this isn’t practical for most.
If it doesn’t work out, then you can line up for rush tickets at the box office right before the show. Of course, this is NOT an option for incredibly popular shows that fill up way before the performance. So keep that in mind, and shell it out for shows you just can’t miss.
So how did my chair roulette go at the theatre? A hit and…an averted miss, I suppose. I swung for three shows and won two. For $30 bucks a show, this was a great deal for the two performances. Even my nosebleed seat. But let’s start with the shows!
Betty Boop: the Character
My first experience was for Betty Boop: The Musical. Like most gals, I loved Betty Boop in my youth. The character through appearance, behavior, and of course, voice, draws strongly from an exaggerated femininity. She holds your attention and stands up for herself in the 1930s. Outside baby voice singing and the need to constantly defend herself from creeps, I wasn’t really sure what I was going to get from the show.
I know this character has been said to be inspired from actresses Esther Jones and Helen Kane. The character could’ve been inspired by both, or more actresses. Both sang and spoke in soft, baby voices when in character, used “boop-de-boop,” and had distinctive details in their hair and makeup.
It is noteworthy that Helen Kane actually sued Fleischer Studios, who owned the character. She alleged Betty Boop was created off her appearance, singing, and mannerisms. However, the lawsuit was thrown out once the existence of Esther Jones was thrown into the mix. Evidence showed Esther Jones performances’ had the same appearance, singing, and mannerisms pre-dating Helen Kane.
Interestingly, Esther Jones was also known as Baby Esther or Little Esther prior to the release of Betty Boop character. Furthering owning the baby-esque style of speaking and singing that Betty Boop would be known for. Esther Jones never sued over the Betty Boop character. Whether this was due to taking the character as a compliment or thinking the odds wouldn’t be in her favor due to social status as a black American. The norms of the 1930s are absolutely not the norms of today, thankfully.
So What Did Betty Boop: The Musical Entail?
The fun thing about this show was the design of Betty Boop’s world, in black and white. In a nod to her time period, the scenery looked like hand drawn cartoons in place of regular props. Many details in the background were simply printed on there to pump up the animation vibe. And nearly everything was in shades of grey. With black and white printed clothing adding texture to the clothing without bringing in color.
I loved Betty Boop’s world but was slightly saddened to see Betty Boop drop into the “real world” – in color and all. Similar to the beginning of “Barbie.” Betty Boop, tired of fame and vying for an ordinary life travels via time-traveling chair to modern-day New York. She ends up in Comic-Con, realizing in this exciting, colorful world that she is still famous. And beloved. Comic-con people praise her appearance thinking she is cosplaying and Betty falls in love with a jazz musician. By the way, the song “I Speak Jazz” is my favorite song of the show.
Betty Boop is having a great time exploring the real world but realizes her home back in the cartoon world apparently falls apart without her. There’s also a b-storyline of a local politician running for a mayor but I suggest you check the show yourself.
I enjoyed the show but was far more interested in her cartoon world at the start of the show. The appearance is fun and playful, and even the black and white element was a treat to see in live. This pattern of iconic characters or shows meeting with the “real world” seems creative but I’ve seen it a bit too much. Creators forget there’s a reason a character or show is iconic, even generations later. Trends in the real world change but classics stand the test of time.
Yes, it can be funny to see iconic, nostalgic characters interact with modern times. But we, the viewers, live in that world. And we’re coming to a show to see something totally different from the world we experience. Personally, I would’ve enjoyed exploring more of Betty Boop’s world.
But – how were the seats?
Not a hit but not a complete miss. I was seated in orchestra rear, nearly all the way back. This was my first lottery, so I assumed it was always going to be this way. Betty Boop played in the CIBC Theatre, which I’ve written about in a previous post on Chicago Theatres, as in the architecture. It’s a beautiful theatre (with a tiny lobby). But the framing around the stage with box seats and red velvet are stunning, and all the lamps are pretty fun. The gold and white theme is beautiful in a quiet way (compared to other Chicago Theatres).
I was under the dress circle, with even more lamps, which looks great before and after the show. But a very small part of the stage is cut off due to the seating for the dress circle. Definitely not an obstructed view, because the most it cut off was top of the backgrounds that were framing the stage. It wasn’t significantly obstructing anything.
But orchestra rear is still orchestra rear, I can fully see and enjoy the performance. Sure, I would’ve loved to be closer. $30 a ticket for Chicago Theatre is a steal, no matter the seat!
A quick mention, any images you’re seeing of the stage is either before and after the show, or taken at intermission. I follow the rules at the theatre, camera is put away during the performance of course.
I felt great about the seats after the show. Then, I tried the lottery again for the Grinch.
How the Grinch Stole Christmas in Chicago
Dr. Seuss’ How the Grinch Stole Christmas played at the Cadillac Palace. Their lobby and waiting area is a major contrast to the CIBC in size (and definitely style). I like that this digital lottery isn’t specific to a certain theatre since I’d probably get bored before the show. As I mentioned in an earlier post, I like to show up to the theatre as soon as allowed inside (usually 45 to 60 minutes before the show) to take in the sights. A lot of Chicago Theatres are older buildings, which is clear from the amount of details in the interior.
I knew what to expect from the story due to the song, cartoon, and live-action film that has been added to the Grinch universe. This was a family show of course, so it was sweet to see all the families (including grandparents) at the theatre with their young ones.
On a side note, I recently watched a performance of Beauty & the Beast and noticed many little girls coming in their Belle costumes for the show. And if not in costume, definitely a yellow dress to match. Adults, including men, also partook in the festivities by dressing up. Or at least color coding. I don’t remember much of that at the Grinch performance. Not sure if it’s a children’s show thing or if I’m just out of the loop on theatre culture.
Front Row for $30 bucks – a Win at the Digital Lottery
Because I ended up all the way in orchestra rear for Betty Boop, I was expecting something similar for the Grinch. I was pleasantly surprised to get a front row seat but it made more sense since they probably want to fill in random seats up front. The digital lottery truly felt random. I believe the only expectation one can have from the lottery seats are that it’s in orchestra only (main floor seating).
Why Front Row Isn’t Always Best
Front row for $30 is a major win. Even though front row isn’t always considered the best seating. Why, you might ask? Being so up close, you might be missing certain elements of the stage and background. Taking a few steps, or rows back, you can get the best view of the stage, in its entirety. Also, people mention being so close to the stage, reality hits home. Theatre is telling you a story, often fantasy. Being so close, you can tell the actor’s costumes, hair, and makeup probably look best a bit further back.
From my seat, I got a little distracted seeing actors and theatre hands moving around and prepping items for the actors. Or waiting to make their move adjusting the scenery or picking up props. Sitting even five rows back makes everything look seamless. People are just popping in and out for a quick action, while you’re distracted by music or an actor singing on the side. Or loud noises, confetti, etc.
But these things are harder to ignore when you’re so close. I even found myself staring at the Grinch as he was offstage momentarily but prepping for coming back out. Taking sips of water, making minor changes in costume or props. Shouldn’t have stared (apologies). Front row can take attention away from the performance.
I’ll keep trying the lottery to see overall if a pattern emerges and will report back.
Thoughts on the Grinch Musical
Like Betty Boop scenery giving a nod to the classic cartoon environment for her world, the Grinch backgrounds pay tribute to the book illustrations. I didn’t realize the dog had a bigger role on stage doubling as the narrator. That was my most unexpected part of the show.
The music and singing were great overall, standard theatre. I was expecting more casual singing since it’s a children’s show. But a win for musical lovers. I’m not complaining about the quality. I just don’t think Broadway singing is always best for children’s shows. The singing felt a bit mature for the Grinch personally.
Of course, before the show (or intermission, I can’t tell) I like to take a peek at the orchestra pit.
Based on these two performances, I enjoyed doing the lottery and won the great deal back-to-back. So, imagine my surprise that I didn’t the third show. I almost made the mistake of assuming things would work out, so don’t be me. Be better than me. Overall, I think it’s worth a shot. You can’t pick your seats, but anything can happen. Far back or front row!
Musical theatre season is beginning in Chicago, I’ll live a link to the digital lottery in case you’d like to try.