A year and some days ago, I had the fortune to attend the media preview of Beetlejuice the Musical when it arrived in Melbourne for its Australian premiere season. At that time, Melbourne was the exclusive host city, with no guarantee of the traditional national tour. While the production has taken some time to return to Australia, a national tour is finally underway. It has now started at Queensland Performing Arts Centre (QPAC) Lyric Theatre before moving to Perth (Crown Theatre, August 2026), Adelaide (Festival Theatre, October 2026) and Sydney (Capitol Theatre, November 2026). A year is a long time. With some cast changes, including Andy Karl taking over from Eddie Perfect as Beetlejuice and Jenni Little replacing Elise McCann as Barbara Maitland during the Brisbane and Perth legs, it’s natural to ask how time and casting have served this new tour. Read on to find out in our review of the Beetlejuice the Musical Australian national tour!
The narrative, as expected, remains unchanged from the Melbourne premiere. Beetlejuice the Musical quickly draws its audience into a world of delightful chaos, interspersing it with heartwarming moments. Long-time fans of Tim Burton’s 1988 cult classic will enjoy the many respectful nods scattered throughout. Newcomers, however, will likely get caught up in the show’s energetic spirit – especially when ‘The Whole Being Dead Thing’ erupts in its secondary opening. The initial flash of ghoulish green lights across the stage and Beetlejuice’s cheeky, fourth-wall-breaking entrance make it clear that this is more than a simple retelling. Instead, it stands as a loosely faithful yet bold reinterpretation that embraces musical theatre’s possibilities with outstretched, undead arms.
For those expecting a carbon copy of the film, I would argue they may be surprised. Like Beetlejuice: The Animated Series, which aired from 1989 to 1991, the musical follows its own chronology rather than mimicking the film’s timeline. It deviates considerably from the film’s events, including foundational plot points and character arcs. Some purists may groan at these changes, but I believe the experience would not shine as much if it were 100% faithful—especially regarding characterisation. For example, compared to the film, the stage musical offers more comedy, and Beetlejuice is far more present as a manic, fourth-wall-breaking emcee and primary plot driver. The result is a narrative that feels theatrically cohesive. The show leans into vaudeville-style antics, self-aware commentary, and wild tonal shifts, balancing story and comedy in a more straightforward narrative structure. Audiences encounter absurd sight gags, heartfelt solos, and sharp one-liners. I often struggled to stifle a burst of laughter. The delivery maintains a rollercoaster rhythm that is consistently engaging.
While it is easy to be taken in by the glitz, outrageous humour, and visual excess, and for some it may be enough on its own – the true gem of Beetlejuice in my opinion is the emotional anchor tied to the story of Lydia Deetz, even if on a second watch it doesn’t feel as weighty as I may have given it credit for originally – and definitely edges slightly more into the comedy side of things. 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.
For many fans who have been following Beetlejuice the Musical since it first debuted on Broadway with Alex Brightman in the role of Betelgeuse, it can be hard to picture anyone else in the role – especially with his vocal tones and timing being as if he were not only made for the role, but born for it as well. Now I really do love Andy Karl as a stage actor, and after falling back in love with the Groundhog Day the Musical soundtrack last year, YouTube Music featured him as my top artist in my 2025 recap. And thankfully, he really nails the performance from start to finish – and like Perfect before him – didn’t try to replicate what had originally been done in the role, but clearly offered his own take on it – which shone in many ways from comedic timing, sass and – arguably most prominently – his vocal range around mixing and matching tones and the occasional pop culture reference being some of the best I have heard. In my first review of Beetlejuice the Musical, I mentioned that “Here’s hoping that, should Beetlejuice travel to additional Australian states, (Eddie Perfect) sticks with the cast, as he is dazzling in his interpretation of the character”… I am glad Michael Cassel Group brought in Karl to take on the role – with Reddit commentary indicating that the understudies are also strong.
Just as bedazzling is the co-lead, Karis Oka, in the role of Lydia Deetz. Drawing on her experience in a range of less-traditional shows, she gives an authentic air of a depressed goth teenage girl with a playful, manipulative streak, and shines in her role. While I recall Oka performing well at the beginning of the Melbourne season, I think she shines even more in the role now, fully embodying Lydia. Joining the cast alongside Karl for the Brisbane and Perth seasons is Jenni Little as Barbara Maitland, taking over from Elise McCann. While this is a little bit of a shame, purely because it would be great to see Karl and McCann perform together given their off-stage engagement, none of this shame comes from Little’s performance. I’d argue that any leading role in a musical is quite distinct from almost any other role in musical theatre, and she was fully in the zone from start to finish with only a week of performances under her belt. Little stars alongside Rob Johnson as Adam Maitland (check out my review with them from the original Melbourne season!), a pure delight from start to finish in a character role pitched as “boring” but quickly becomes anything but. Meanwhile, Erin Clare and Tom Wren also shone as Delia and Charles Deetz, respectively – continuing to shine as their characters, especially Erin, who, despite arguably being the least prominent major character, owned the stage whenever she appeared. For all the cast, something that I noted in my original review was that I appreciated “how crisp their pronunciation and elocution were”, noting that “(e)very word spoken or sung on stage was understandable, no matter how fast or frantic”. This comment carries across to the Brisbane season, a substantial feat given how often I find musicals at the venues take weeks (if ever) to find the right audio balance for audiences.
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, aligned with my comments around the role of Lydia, 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 – and give the flexibility for the actors, especially Andy Karl, the opportunity to ad lib a bit and have fun. 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 are pleasing and don’t overindulge, yet they’re just as memorable as the show’s other elements. 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. Perhaps due to my location in the stalls, the surprise appearances in ‘That Beautiful Sound’ were not obscured as much as before, which was the biggest “wow” moment when I first saw the production. Furthermore, perhaps due to the Lyric Theatre’s stage size compared to Melbourne’s Regent Theatre, some sets, such as the “Underworld,” didn’t feel as compact or claustrophobic, with larger, less detailed barriers than where the action takes place. Coupled with the Lyric Theatre having a more modern aesthetic than the rich, gothic architecture of the Regent, which paired so well with the musical, what’s on offer ambience-wise was a slight downgrade compared to Melbourne – but nothing substantial.
Beetlejuice the Musical is definitely a musical for younger audiences, and on opening night you could definitely feel that vibe with more than a handful of Beetlejuice’s roaming the foyers – some more authentic and some being creative interpretations of the style. As I was sitting watching the musical in full for the second time, while there were a few surprises I had forgotten about (and let’s be honest, the leitmotifs are always emotionally epic as well), I found myself thinking that Beetlejuice the Musical really could be this generation’s Rocky Horror Show.
A year and some days after Beetlejuice the Musical first conjured itself onto Australian stages, this national tour proves the wait has been worthwhile. While the Melbourne premiere may still hold a particular gothic magic in memory, especially in how naturally the Regent Theatre seemed to embrace the show’s macabre theatricality, the Brisbane season confirms that this production has lost none of its bite, heart, or wicked sense of fun. Andy Karl brings a brilliantly distinctive level of chaos to the titular character, and clearly is finding so much fun and joy in the role, while the other cast members, both returning and new, embody their roles so perfectly. It may not hit every surprise with the same force on a second viewing, but its combination of grief, spectacle, comedy, and cultish audience appeal remains irresistible. With Perth, Adelaide, and Sydney seasons still to come, and with the Brisbane season having just begun, Beetlejuice the Musical feels less like a belated return and more like the beginning of a deserved national afterlife: strange, sincere, chaotic and irresistibly fun.
Final Score for Beetlejuice the Musical’s National Australian Tour
We would like to acknowledge the Australian producer of Beetlejuice the Musical, Michael Cassel Group, for providing opening-night tickets for the Brisbane season, as well as a complimentary program.
If this has you eager to see a performance of Beetlejuice the Musical in your home state, the musical will be performed at the QPAC Lyric Theatre in Brisbane until 2 August 2026. Beetlejuice the Musical will then head to the Crown Theatre in Perth later in August 2026, then the Festival Theatre in Adelaide from October 2026, and then finally the Capitol Theatre in Sydney starting in November 2026. As of writing, no confirmation about a return to Melbourne season has been made. As venues use different ticketing systems, booking information for each state can be found on the musical’s official website.
Keen to hear more about Beetlejuice the Musical? Check out my previous feature articles on the Australian production:
- Eddie Perfect on Beetlejuice: 11 Insights from Brisbane ‘In Conversation’ Event
- A Conversation with Rob Johnson: Interview, Interview, Interview! with Beetlejuice the Musical Australia’s Premiere Adam Maitland
- A Conversation with Elise McCann: Interview, Interview, Interview! with Beetlejuice the Musical Australia’s Barbara Maitland
