Review: BEETLEJUICE at the Aronoff Center

In an age of Broadway when those who create musicals are turning to movies and other previously conceptualized material as a way to source ideas for new musicals, it is a delicate balance between a derivative, copy-and-paste work and a fresh, explorative take on a beloved tale that results in a great show. Luckily for Beetlejuice, the Broadway touring production definitely finds new ways to spin the premise into a story full of new motivations and character development while still staying close to the heart of the 1988 Tim Burton film on which the musical was based. With stunning design elements, a highly professional cast, and an engaging plot, Beetlejuice is very worthy of its nearly sold-out run at the Aronoff Center in Cincinnati, Ohio.

There are two ways to analyze a stage adaptation of a movie: Its comparison to the original source, and how the show stands on its own. In this case, this version of Beetlejuice succeeds in both regards. The changes from the original film are done intentionally to make it work for the new medium. By changing the focus of the central characters, they redirect the story from newly dead couple, Barbara and Adam, navigating a dismal afterlife to one where they become zany featured characters with their own development. They are also integral to the plot of Lydia working through her grief after her mother’s death and Beetlejuice’s ambition to regain his life, both of which share the main spotlight. Whereas Lydia in the film was a strange and unusual outcast in her own family for no apparent reason other than her given personality, Lydia in the musical gains more fascination in the topic of death when she has a goal to reconnect with her dead mom. In addition, she is also dealing with new dynamics within her family as her father becomes close with Delia, the new life coach he hired for his daughter. Note that in the film, the character of Delia filled the role as Lydia’s stepmother, therefore switching the character relationships in the story to make the musical even more its own. And while Beetlejuice remains an agent of chaos (including his heightened, indiscriminatory sexual energy towards others), his motivation comes more from loneliness and a desire for connection rather than wreaking havoc on the living for the sake of it. The style isn’t the same as Tim Burton’s, but it isn’t supposed to be. However, it is to be noted that one of the most iconic scenes of the original film is featured in the stage adaptation, with its own execution of course.

In assessing Beetlejuice as a night out at the theatre, the show sparkles with its spectacular sets, bright and flashing lights, and intricate props and costumes. Its aesthetic is perfect for the Halloween season but can still be appreciated by lovers of general spookiness all year round. It has a good mix of big numbers showing off the ranges of the ensemble members as they switch characters in between scenes, as well as big solos that feature strong vocals by the leading actors. Modern musical theatre as a whole tends to have a distinct, pop-like sound, but Eddie Perfect's score works well in this instance as it is executed very well. Lydia is played by Isabella Esler, who should feel very lucky having the right timing to tour the country playing a role that exemplifies her great abilities so wonderfully, especially as her professional debut. Meanwhile, Matthew Michael Janisse stepped into the role of Beetlejuice on Tuesday, January 16th, and he claimed the role so well that anyone would be lucky to see him go on in one of his limited-edition performances as the titular character.

Currently touring throughout North America, Beetlejuice is now being presented at the Aronoff Center in Cincinnati, Ohio through January 28th, 2024. For tickets at this location, visit cincinnatiarts.org or click on the link below. For more info on the tour as a whole, visit beetlejuicebroadway.com.

Photo Credit: Matthew Murphy

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