Review: Beetlejuice The Musical (Prince Edward Theatre)

Review by Daz Gale

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It’s not an exaggeration to say some people have been waiting a lifetime to see Beetlejuice on stage in the West End. It has been seven years since the show premiered on Broadway, and 38 years since the original movie wowed audiences, going on to become a cult classic. Rumours about a West End transfer were in the works for years, and just when it looked like the show was officially dead in the water, the ghost with the most crossed the pond, ready to terrify audiences at the Prince Edward Theatre for 11 months only. I must confess I couldn’t wait a single day(o) to catch this show in its UK debut, so I headed to the first preview, making this my second visit already. Would this show be so screamingly good I’d want to see it three times (or more), or would it bore me to death and make me wan’ go home?

Beetlejuice is centred around Lydia Deetz, a teenager who has suffered the loss of her mother and become obsessed with death as a result. Unbeknownst to her, the new house she has moved into with her father is haunted by the ghosts of the married couple who lived and died in the house before them, and a demon named Beetlejuice. Desperate to be brought back to life, he has to convince Lydia to say his name three times, but what will happen when she finally says it?

Scott Brown and Anthony King have penned the book for this musical adaptation, retaining the basics of the story from the iconic movie and, most importantly, the essence of Beetlejuice himself. What is refreshing about this adaptation is how unafraid they are to try something new, deviating from the source material, and even referencing it as the titular demon declares in his first appearance. Modernising aspects of the story and bringing an increased sense of theatricality to it, with an obliterated fourth wall as Beetlejuice talks to and even chastises the audience. It is an inspired adaptation and one that has been made fresh through updated references. The West End version has been tweaked from the original Broadway version to include some very British references, including a nod to David Attenborough, an unexpected town in Essex, and a poor unsuspecting marmalade-obsessed bear called Paddington.

Beetlejuice is a show that doesn’t take itself too seriously, with its biggest aim to make the audience laugh as loudly and often as possible. It is a job well done, with riotous laughter to be heard frequently. Brown and King have beautifully expanded Beetlejuice’s character to embrace the chaos and madness he is associated with, transforming him into a stand-up comedian, gameshow host and even attempting to elicit a bit of sympathy by expanding on his back story. It is all skilfully done, leading to a rich world that is every bit as wonderful as it is ridiculous. If you thought Beetlejuice was a crazy character on screen, you really ain’t seen nothing yet!

It is down to David Fynn to take on the larger-than-life character, a task he more than rises to the occasion for. Refreshingly, Fynn doesn’t attempt to channel Michael Keaton from the movie or even Alex Brightman from the original Broadway cast. Instead, Fynn manages to find his own spin on the character while never deviating from the core characteristics of his nature, and finding time to pay homage to those who have gone before him. It is a sensational performance that showcases Fynn’s remarkable abilities as an actor, with an impeccable knack for comic timing and a stage presence that effortlessly fills one of the biggest stages in the West End. Fynn has the audience in the palm of his hand from his first appearance and never misses with any jokes or physicality in a performance so demanding that it occasionally feels exhausting to watch. If Alex Brightman managed to make such an iconic character his own on Broadway, so too does David Fynn with this West End production in a performance you are unlikely to forget in a hurry.

It may be Beetlejuice’s name on the marquee (sorry Maitlands), but this is very much an ensemble show, and many of the talented cast get their own moments to shine in a production rich and varied with talent, but all consistent in their quality. Starting with the Maitlands, David Hunter and Chelsea Halfpenny form a terrific double act as Adam and Barbara, with the former getting some hilarious moments as an unwanted subject of Beetlejuice’s affections. Their big Act Two number, ‘Barbara 2.0,’ proves a huge highlight of the show, giving the pair much to play with. Though the characters are in the background for much of the time, they prove to be crucial to the story, with this pair of proven actors more than holding their own against some of the bigger performances they compete with.

Aimie Atkinson is at her scene-stealing best as Delia, providing some of the more hilarious moments with her faultless characterisation, and her big musical number ‘No Reason’ is an absolute joy to watch. Alasdair Harvey delivers a strong performance as Lydia’s father, Charles Deetz. He is one of the only straight characters in the show, rarely tapping into the humour and attempting to keep the tone serious. It is, of course, a losing battle, and Harvey’s ability to channel the competing tone of his character makes for a brilliant performance. Special mentions must also go to minor characters who are portrayed exquisitely by their cast members, with Irvine Iqbal, Richard Frame, Rachel MacDougall and Vanessa Aurora Sierra all getting moments to shine, with the latter bringing the house down with her exceptional vocals on ‘What I Know Now’.

However, the real star of this production is Lydia herself. Hannah Nordberg is phenomenally good in the role, perfectly tapping into every aspect of this iconic character. From the unbothered way she utters certain lines to the overdramatics elsewhere, Nordberg’s portrayal is utterly faultless. She also gets some of the biggest numbers in the show, blowing everyone away with an amazing performance of ‘Dead Mom’ early on, and reminding us of her vocal capabilities on Act Two’s ‘Home’. There are many memorable and magnificent performances to find in Beetlejuice, but it is Nordberg who tops them all in a contender for one of the strongest performances of the year, and one that could even earn her a series of accolades over the next twelve months.

Adapting a well-loved movie for a musical sometimes has one common stumbling block, and that is finding songs that don’t feel shoehorned in but actually add to the story. Though some of them prove extremely random, the variety and unpredictable nature of Eddie Perfect’s music and lyrics feel perfectly in keeping with the tone of Beetlejuice and make for a truly excellent collection of songs. ‘Girl Scout’ and the aforementioned ‘What I Know Now’ give solo numbers and voices to minor characters in brilliant fashion, while a number such as ‘Dead Mom’ has become a firm favourite with musical theatre lovers in the eight years since the musical premiered. 

It is the bigger numbers in the show that make Beetlejuice really come alive, and this is where Alex Timbers truly thrives in his direction. This is a complex production in every respect, and to see it pay off on these absolutely huge numbers is a testament to Timbers’ vision and precision with this production. ‘The Whole Being Dead Thing’ sets the tone perfectly, but it isn’t until the Act One finale that the true genius of this production explodes. ‘Day-O (the Banana Boat Song)’ is such an iconic moment from the film and pop culture, so it is thrilling to see this big, bold and brash version of it to send audiences into the interval with a smile. The big production numbers step up a gear in Act Two, with ‘That Beautiful Sound’ and ‘Creepy Old Guy’ both absolute showstoppers, deservedly receiving extended applause on press night. Connor Gallagher’s thrilling choreography ensures these numbers are performed to a miraculous level, with the attention to detail on ‘That Beautiful Sound’ in particular deserving extra praise.

If this production of Beetlejuice wows on all fronts, its design elements take it to another level entirely. While the staging is admittedly not as grand as the Broadway production and there is an overreliance on curtains for scene transitions, this is still a show that isn’t just aesthetically pleasing, it’s absolutely mind-blowing in its realisation. David Korins’ set design is a thing of beauty with an incredibly detailed asymmetrical set that constantly surprises. Be it a transition, illusion or secret hidden behind a prop, there is always something visible (or about to pop out) that will make you smile. The Act Two sequence in the Nether World proves particularly impressive, with Peter Nigrini’s projection design making up for some of the comparatively smaller set pieces with big visuals of the highest quality. Kenneth Posner’s lighting design is used to fantastic effect before the show has even started, setting the tone and the atmosphere before you have even taken your seat. Complex and versatile effects allow the lighting to match the shifting tone, with a great use of darkness and colours. To cap off the perfect visuals, William Ivey Long’s costume design is everything you would ever want from a Beetlejuice musical.

It has been a long time coming for British audiences to get a taste of Beetlejuice, but it was certainly worth the wait. In an increasingly scary world, Beetlejuice is the tonic we all need, creating a beautiful night of escapism and much-needed laughter. How unseriously this show takes itself is key to its success - it isn’t aiming to be the most intellectual or thought-provoking show you’ll see this year, and isn’t afraid to stick two fingers up to one of its adorable neighbours down the road, but that is why it works so well. If you are looking for a night in the theatre to sit back, laugh and forget about all of your problems, pick up the phone to a ticket agency and say “Beetlejuice” three times (or just book online. It might be easier). Bursting with life from start to finish, Beetlejuice really is the ghost with the most, leading to one hell of a show.

Beetlejuice plays at London’s Prince Edward Theatre until 17th April. Tickets from https://allthatdazzles.londontheatredirect.com/musical/beetlejuice-tickets

Photos by Johan Persson