Review: Spooktacular production of BEETLEJUICE THE MUSICAL at Straz Center

"It's showtime!"

Just in time for Halloween and running through October 29, if you love the bizarre and the

hilariously absurd, then BEETLEJUICE THE MUSICAL at the Straz Center is made for you. With vibrant performances, catchy tunes, and a set design that defies the laws of the afterlife, this musical adaptation of Tim Burton's cult classic film is brought to life in a way that pays homage to the beloved classic and adds a unique lyrical twist.

Outside the Straz Center, before entry, much like the cosplay of THE ROCKY HORROR PICTURE SHOW, fans of all ages waited, dressed like their favorite BEETLEJUICE characters. From ten-year-old Lydias to grandmas dressed like Beetlejuice and every age in between, the evening, even before the musical started, is an absolute delight to see.

The Straz Center's stage is transformed into a psychedelic, supernatural playground where the boundary between the living and the deceased blurs. David Korins' set design is a character in its own right, constantly evolving and a feast for the eyes. One moment, we're in the Maitland's cozy home, and the next, we're in an attic, outside the house, or plummeting into the surreal realm of the Netherworld. Using puppets and special effects adds an extra layer of magic to the production, making it an absolute visual delight. It's a jaw-dropping visual experience that truly captures the essence of Tim Burton.

Director Alex Timbers' vision and the choreography by Connor Gallagher work in harmony to create a show that respects the source material and brings a fresh take to the stage. The film's dark humor and quirky, offbeat sensibilities are alive and well in this musical adaptation.

The score, composed by Eddie Perfect, is haunting and catchy. Songs like "The Whole 'Being Dead' Thing" and "Creepy Old Guy" perfectly complement the story's zany, dark humor.

Despite a rocky start with a few technical difficulties delaying the production, Justin Collette, the legendary Beetlejuice, keeps the audience in stitches with improv as funny as the scripted material, consistently breaking the fourth wall.

One of the most notable aspects of this production is this impeccable casting. Collette's portrayal is nothing short of show-stopping. He effortlessly embodies the manic spirit of the character, bringing a wild and unpredictable energy to the stage. His charisma seizes the audience from the moment he materializes on stage, welcomed by a theatre of booming applause. His comedic timing is impeccable, and his rendition of the show's signature song, "The Whole 'Being Dead' Thing," is an absolute show-stealer, having the audience howling with laughter.

Featuring a book by Scott Brown and Anthony King, the musical faithfully follows the twisted tale of a recently deceased couple. Will Burton's Adam and Megan McGinnis's Barbara Maitland blend humor and heart perfectly as ghosts stuck in their Connecticut house forever. "Barbara 2.0" highlights their outstanding vocals.

Beetlejuice's quip, "They just died, and you guys are laughing," threw the audience into gales of more laughter.

The hopeless spirits watch their home destroyed by new occupants. Negligent dad Charles Deetz, played by Jesse Sharp, and life coach/love interest Delia, played by Kate Marilley, are the exceptionally obnoxious pair and terrible parental figures for Charles's daughter, Lydia.

When Charles describes the Maitland home as "a nursing home for sad cats," the Maitlands are determined to get rid of them by any means necessary.

And that means with the help of the eccentric and mischievous Betelgeuse, or as he insists Beetlejuice. Though Beetlejuice is supposed to be wicked, Collette makes you feel a slight bit of sympathy for a demon who just doesn't want to be alone.

Isabella Esler delivers a strong and soulful performance as Lydia Deetz, the angsty goth teenager with an affinity for the supernatural dealing with the recent loss of her mom. Her powerhouse vocals and emotional depth make her a standout star in her own right. Her rendition of "Dead Mom" is a poignant highlight that adds depth and emotion to the narrative. When the Maitlands meet Lydia, their chemistry is palpable, creating a dynamic trio you can't help but root for.

When Beetlejuice throws Lydia's book into the fireplace, his hand catches on fire; he turns to the audience and deadpans, "I'm burning! I thought this only happened to books that make kids gay!" The audience responds appropriately.

When discussing the exceptional cast, you can't forget the dinner party. "Day O! The Banana Boat Song," with its table full of possessed Beetlejuice-marionetted guests, transfers exceptionally well from the screen to the stage.

Or the oddball characters inhabiting the Netherworld. Each actor brings unique quirks to the stage.

Completing the cast are Abe Goldfarb (Priest, Mover, Otho, Census Taker), Lee N Price (Mover, Neighbor), Kris Roberts (Maxine Dean, Juno, Neighbor), Brian Roberts (Maxie Dean, Neighbor), Jackera Davis (Girl Scout), Danielle Marie Gonzalez (Miss Argentina), and the Ensemble featuring Michael Biren, Juliane Godfrey, Kenway Hon Wai K. Kua, Sean McManus, Nevada Riley, Trevor Michael Schmidt, and CorBen Williams.

BEETLEJUICE THE MUSICAL is a show that revels in its own weirdness and invites the audience to do the same. The musical is a rollercoaster of laughs, gasps, and heartwarming moments. Capturing the spirit of the original film while carving out its unique identity as a musical, the show's mischievous and cheeky nature keeps the audience engaged from start to finish, and you'll leave the theater with a smile on your face and images like an unwanted Beetlejuice lap dance and the earworm "Day O!” stuck in your head.

The result is a darkly comedic, visually stunning, and utterly entertaining experience that leaves you simultaneously amused and slightly disturbed. In a world where cookie-cutter musicals often dominate, "Beetlejuice" is a refreshing departure into the bizarre. Despite the minor technical difficulties, as life coach Delia would say, "Every success begins with sucks… but ends with… yes."

 

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