Theatre review: Beetlejuice the Musical is a world of whacked-out fun
Over-the-top performances and funhouse visuals make this Broadway Across Canada production a suitably warped winner
Beetlejuice The Musical.
Broadway Across Canada presents Beetlejuice the Musical at the Queen Elizabeth Theatre to January 26
FORGET ABOUT SAYING “Beetlejuice” three times: Broadway Across Canada’s Beetlejuice the Musical is so much fun, you may actually want to see it three times.
After all, given the funhouse-like experience, the distorted visuals, and the whacked-out humour—not to mention some excellent song and dance—one time likely isn’t enough to fully take in everything this kooky musical offers.
Directed by Alex Timbers, the show is only loosely based on the iconic film version, which proves to be a terrific choice. This is a musical that avoids the “copy and paste” feel of other film-to-stage efforts such as Pretty Woman: The Musical.
Here, the story begins at the funeral of Emily Deetz, set in an eerie graveyard crafted by scenic designer David Korins and lighting designer Kenneth Posner. The pair have replicated the twisted and imaginative style of Tim Burton (who directed the film), complete with renderings of a giant menacing tree and the ominous house on the hill where most of the story unfolds.
We’re introduced to the deceased’s teenage daughter, Lydia (a captivating Madison Mosley), who’s left heartbroken and lonely following her mother’s death. When the dust from the funeral clears, the unapologetically obnoxious demon Beetlejuice (a hilarious Justin Collette) seizes centre stage. Immediately breaking the fourth wall, Beetlejuice makes light of the fact that the musical is a departure from the source material, and takes pleasure in terrorizing the audience with lines like, “If I hear your cellphone ringing, I'll kill you myself!”
As only the dead can see him, Beetlejuice has a plan to convince the couple of Barbara and Adam Maitland (the adorably sweet Megan McGinnis and Will Burton)—who are about to die—to say his name three times so he can be seen by and interact with the living. But the Maitlands’ cautious behaviour (even in death) and the intrusion of new residents in their home (who happen to be Lydia, her dad, and his “life coach”) complicate matters for Beetlejuice. Cue the stage for demonic possessions, a trip to the Netherworld, an exorcism, a giant sandworm, and plenty more chaotic and delightfully wild times.
In an effort to stand on its own from the film’s storyline and still connect the subplots of all the characters, Scott Brown and Anthony King’s book is a bit complicated. However, the animated and character-driven cast performances help keep us up to speed. From expressing heartbreak to devising sneaky plans, Mosley is wonderfully engaging and makes it easy to follow Lydia’s story arc, highlighted by her smashing vocal delivery of songs such as “Dead Mom” and “Creepy Old Guy”.
Likewise, McGinnis and Burton hold up the Maitlands’ storyline by leaning into the couple’s innocent and awkward personas, and their realization that personal growth is still possible in the afterlife. Many of the vivid characterizations throughout the show can be attributed in large part to score writer Eddie Perfect, whose insightful, witty lyrics give the songs a conversational feel, as if the characters are speaking directly to the audience.
Throughout, Collette leads the way with his over-the-top brash portrayal of the title character. With his endless energy, raspy voice, and mile-a-minute comical banter, Collette nails the obnoxiousness of Beetlejuice without ever crossing the line into being irritating. In fact, despite Beetlejuice’s ill intentions, Collette manages to make him likable and enduring, to the point where it’s hard not to cheer him on in his devious escapades.
Collette is the glue that holds this show together—and what a show it is. As mentioned, Korins and Posner have leaned into the dark, imaginative style of Burton, creating fun visuals that include the transformation of the Maitlands’ home into Beetlejuice’s house of horrors, complete with the invasion of a massive sandworm. And rather than showing all its cards at once, the show builds over time, saving most of its special effects and visual highlights for the second act.
Similarly, it’s not until the second act that the show unleashes its flashy production numbers, such as “That Beautiful Sound”, where an ensemble of Beetlejuice clones leap, pirouette, tumble, and slay Connor Gallagher’s crowd-pleasing choreography. The show continually gains momentum, holding your attention and ramping up to an exciting climax that verges on sensory overload.
Despite the grandeur of it all, there’s a genuine heartfelt message of family and acceptance, led by Mosley’s Lydia, that serves as the show’s throughline and helps makes sense of all the action. As a result, Beetlejuice the Musical’s over-the-top campiness is served with purpose. It retains the feel-good vibe of the film while cheekily standing on its own as a musical. 
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