An exemplar of both how cult classic films can be creatively reinterpreted into musical form, and that Australian creatives have so much to offer the international “Broadway” musical scene – Beetlejuice the Musical rides high from the moment one steps into the vacinity of Melbourne’s Regent Theatre, and doesn’t descend until you leave later that afternoon or evening… wishing you could experience your first time with the production again. It has been quite some time since the production debuted at the Winter Garden Theatre on Broadway, at the time featuring the incredible vocals of Alex Brightman in the role of the titular character, and with every new musical announcement teased for Australia, there was always my fingers-crossed that the announcement would be for this musical. After over half a decade of waiting, Beetlejuice the Musical has finally commenced its premiere Australian tour in Melbourne, with the kudos of co-producers Michael Cassel Group and Warner Bros. Theatre Ventures. Does it live up to the hype? Is it worth travelling down to Melbourne to see, or keep saying ‘Beetlejuice, Beetlejuice, Beetlejuice!’ repeatedly to wait and hope the production travels to your home state? Read on to find out!
Beetlejuice the Musical wastes no time welcoming its audience into a world of delightful chaos, with a spattering of heartwarming moments here and there. Long-time fans of Tim Burton’s 1988 cult classic will appreciate the reverent nods scattered throughout the show. Still, even newcomers will be swept up by the production’s energetic and infectious energy, especially when the secondary opening number, ‘The Whole Being Dead Thing‘, starts in full swing. From the moment the first ghoulish green lights flash across the stage and the titular character makes his cheeky, fourth-wall-breaking debut, it’s clear that this isn’t just a rehash of familiar material, but a faithful but bold reinterpretation that embraces the medium of musical theatre with outstretched, undead arms.
For those expecting a carbon copy of the film, there’s plenty that feels familiar but also plenty that has been reworked to suit the stage. Beetlejuice himself is far more present in this iteration, serving as a manic fourth-wall-breaking emcee and primary driver of the plot. The result is a narrative that feels more theatrically cohesive, leaning into vaudeville-style antics, self-aware commentary, and wild tonal shifts that strike a good, even if not always perfect, balance between the story and comedic approaches to what is ultimately a malleable but straightforward narrative. From absurd sight gags to heartfelt solos, to character reactions and one-liners that saw me struggling to stifle a loud burst of laughter, the delivery supports a rollercoaster rhythm that remains consistently engaging.
While it is easy to be taken in by the glitz, outrageous humour, and visual excess, the true gem of Beetlejuice is the emotional anchor tied to the story of Lydia Deetz. Following her as a grieving teenager who struggles both with the recent loss of her mother, and a souring relationship with her father, who refuses to talk about her and has seemingly, and very quickly, moved on, again. It is a simple framework that potentially offers a lot of depth. Her emotional journey gives the musical its heart, and her yearning to be seen and understood contrasts with the manic antics around her. This is particularly notable in the second act, where events slow down and hone in on her feelings, elevating this musical beyond spectacle to something more enriching to watch.
That said, the zaniness of Betelgeuse is a massive part of Beetlejuice the Musical’s appeal. The presentation and staging are constantly surprising, with visual trickery, creative ways of delivering dialogue, and a set design that feels as alive as the characters on stage. The show gleefully leans into theatrical excess, with Betelgeuse acting as both a gleeful narrator and a gleeful saboteur, driving much of the story’s mischief and being behind the idea that this is a ‘show about death’. This balance between emotionally grounded storytelling and madcap chaos results in a production that is as thoughtful as it is unpredictable.
As I have mentioned a few times before, the original performer of Betelgeuse on Broadway, Alex Brightman, is, honestly, synonymous with the character. From his unique vocal tones, which are maintained to consistent perfection, and mannerisms that have continued with him post-Beetlejuice the Musical, it is hard to imagine someone else in the character’s shoes and meeting such heights. However, the Australian musical theatre industry has an asset named Eddie Perfect, who is a performer and writer of the musical’s lyrics and music. If anyone were to be able to deliver the lines and music performing in the show, surely they could. Right? Yes! Filling the demanding and unique role of Betelgeuse, Perfect doesn’t attempt to replicate what Brightman accomplished, but instead, worked with his vocal tone and skills to deliver a performance that was not just enjoyable, but perfectly reflected the unhinged and nefarious nature of the character. Here’s hoping that, should Beetlejuice travel to additional Australian states, he sticks with the cast, as he is dazzling in his interpretation of the character.
Just as bedazzling is the co-lead, Karis Oka, in the role of Lydia Deetz. Drawing from her experience in a range of less-traditional shows, she gives an authentic air of a depressed goth teenage girl with a playful and manipulative streak to her, and shines in her role. The other principal cast also manages to shine consistently, especially Elise McCann and Rob Johnson as the spirits of Barbara and Adam Maitland, both experienced performers in their own right who were immersed in their respective roles and had brilliant on-stage chemistry, while Erin Clare and Tom Wren also shone as Delia and Charles Deetz respectively. While I appreciated this cast and their general performance, and just how broad their skills reached, I most appreciated how crisp their pronunciation and elocution were. Every word spoken or sung on stage was understandable, no matter how fast or frantic.
Eddie Perfect’s score for Beetlejuice the Musical toes a clever line between theatrical bombast and character-driven sincerity. Numbers like “The Whole Being Dead Thing” and “That Beautiful Sound” are absolute show-stoppers that you will be humming, if not all-out singing, on the way home. These songs serve as both exposition and entertainment, giving the audience insight into the world while delivering the kind of musical bravado you would expect from a production of this calibre. The use of classic tracks like “Day-O” and “Shake Senora” injects just the right amount of nostalgic fun and authenticity into the source material while still feeling thematically relevant, with their choreography and staging easily ranking among the most memorable moments in the production.
However, the score of Beetlejuice the Musical truly shines in the more emotionally resonant numbers. Lydia’s solos, particularly “Dead Mom” and the act two ballad “Home,” are where the character’s internal struggle takes centre stage. These songs provide her with an audible emotional arc, seamlessly moving from grief and anger to opportunity and finally to clarity and acceptance. It feels that audiences were taken through the seven stages of grieving with her. Perfect’s lyrics are sharp, often balancing comedy with poignancy in a way that mirrors the show’s chaotic-yet-heartfelt nature. This combination of humour and genuine emotional weight in the music keeps Beetlejuice the Musical from being a one-note comedy. Instead, the music helps elevate it into something far more memorable.
The staging and lighting design of Beetlejuice the Musical is pleasing and doesn’t attempt to overindulge, but is also just as memorable as other elements of the show. The house, which serves as the main set of the show, transforms with chaotic ease, visually reflecting the story’s escalating madness, meanwhile the lighting design shifts from eerie greens and purples to explosive flashes that heighten every comedic beat and dramatic reveal – and on occasion buys the staging team time to change sets around. These elements work in tandem to ensure no scene feels static, with projections, shadows, sudden lighting cues, and the odd piece of stage magic adding to the show’s surreal aesthetic. This is not limited to the staging, however, and taking advantage of the Regent Theatre’s layout, dressing in the foyer areas to the lighting spectacle taking place on the ceiling of the theatre itself, all provides that immersive experience from the moment you enter, to the moment you are farewelled with the message “Beware, Entering the Real World”.
My only minor issue about Beetlejuice the Musical is that while there is an air of ad-hocness, especially in Betelgeuse’s fourth-wall breaking narration, from what I can tell, much of it is scripted, to the point I kinda feel like these scenes would do with a bit of Rocky Horror-esque audience participation. Nevertheless, while it may not have the draw to fans of more traditional theatre, Beetlejuice the Musical, I think, will resonate very well with the younger demographics, and those who genuinely enjoyed what made Beetlejuice the movie a cult classic to begin with. This is by no means a Brigadoon, but perfectly encapsulates what this generation of musical theatre is shaping up to be – something much more diverse and hopefully incredible.
If you’re still on the fence about travelling to Melbourne or holding out hope the show visits your home state, let me be clear: Beetlejuice the Musical is absolutely worth the trip. It’s bold, bizarre, and brimming with both chaos and heart. It’s a devilishly delightful ride from start to finish and truly is a cult classic reborn for a new generation. Whether the nostalgia of the film draws you, the spectacle of the staging, or the soul-stirring journey of Lydia Deetz and some undead allies and foes, this production has something for everyone. Beetlejuice the Musical has not only landed, but it’s haunting Australia with all the makings of an early cult-hit- alive with wit, wonder, and just the right amount of that whole being dead thing.
Final Score for Beetlejuice the Musical
Australian producer Michael Cassel Group provided tickets to review Beetlejuice the Musical.
Tickets to see Beetlejuice the Musical at Melbourne’s Regent Theatre are available to book via the musical’s official Australian website. As of writing, only the Melbourne season has been announced, with no confirmation (as of writing) of any other subsequent legs for a national tour.
