Beetlejuice The Musical: Review

‘Strange and unusual’ Beetlejuice is a perfect blend of chaos and creativity, full of camp antics and pop culture nods. 

The much-anticipated Australian production of Beetlejuice The Musical has premiered in Melbourne. Aussie favourite lyricist and composer, Eddie Perfect, brings a taste of Broadway back home as he stars as the troublesome Beetlejuice. Directed by Alex Timbers with choreography by Connor Gallagher,  Beetlejuice is quickly proving why it is the must-watch musical of the year. 

Although the musical had trouble finding its initial footing on Broadway, it quickly came back from the dead with its die-hard cult following formed via TikTok. As I headed into the show, I was eager to see what divided so many critics but had the fans raving. I soon realised this calibre of show is exactly what Australian theatre lovers have been wanting and waiting to see. Not to mention, it had me humming the songs all the way home. 

Image by Michelle Grace Hunder

Based on the 1988 movie, Beetlejuice The Musical is the brainchild of lyricist and composer Eddie Perfect, alongside script writers Scott Brown and Anthony King. The story follows 16-year-old Lydia Deetz, played by the magnetic Karis Oka, who is mourning the loss of her mother and thrust into a new home in the wake of her grief. We are also introduced to the newly deceased owners of said home, happy-go-lucky, sweet-as-pie couple Barbara and Adam Maitland (Elise McCann and Rob Johnson). We watch as the Maitlands work with Lydia to get their new tenants evicted with help from a certain afterlife delight - the sly, witty and downright stinky Beetlejuice (Eddie Perfect). 

This production blends multiple genres of music from pop, rock and roll to swing, and even a bit of gospel, showcasing the vast possibilities that lie within the world of musical theatre. Perfect  utilises the musical tone to engage the audience and catch them off guard when they least expect  it.  

Watching the show was a masterclass in musical comedy from some of Australia’s best. Leading the cast, Eddie Perfect delivers one of his best performances to date. The excitement was palpable in the audience, and when Perfect arrived for his first line there was already a roar of applause. He expertly displayed his innate ability to improvise with the audience, breaking the fourth wall and making us secretly root for the mischievous Beetlejuice. It’s rare to see creators tackle their own work, but Perfect secures his place amongst those who can successfully pull this off.  

Another notable performance of the night was Karis Oka as Beetlejuice’s buddy Lydia Deetz. Oka was a standout of the night, bringing the authenticity and heart of misunderstood teenager Lydia. It was undeniable that this was one of the best casting choices of the night with powerful transcendent vocals and nuanced acting choices. Her performance of both ‘Dead Mom’  and ‘Home’ were fit for a Broadway stage. 

Image by Michelle Grace Hunder

Not to be missed were the hilarious yet sweet McCann and Johnson as the picture-perfect  Maitland's. The pair had fantastic chemistry and comedic timing from start to finish. This  balanced the sadistic Beetlejuice as we rooted for the pair to stand up for Lydia in ‘Barbara 2.0’,  with McCann’s powerhouse vocals on full display. 

I must commend Adam Lyon, who performed outstandingly as Lydia’s father, Charles Deetz. He carried the role with gravitas and heart especially in his final scenes with Lydia in the underworld. Alongside Lyon, Erin Clare was dazzling in her role as our favourite eccentric life coach Delia. Clare brought the house down in ‘No Reason’ with her genius blend of nuisance acting choices, superb vocal control and hysterical characterisation.  

A true hero of this piece is the set, lighting, and costume design which seamlessly transports us into the gothic underworld that we come to expect from Beetlejuice. The set design (David Korins) and lighting design (Kenneth Posner) worked hand in hand to allow multiple impressive  transformative changes right in front of the audiences eyes. The costume design (William Ivey Long) did not disappoint, from Lydia’s iconic red wedding dress to characters from the underworld  like ‘Bob’ the shrunken head and Miss Argentina. 

Another surprising and delightful element of this production was the puppetry and illusions.  Puppet designer, Michael Curry, did a skilful job of transporting the audience into the afterlife with fan favourite the ever feared ‘Sand Worm’. Michael Weber’s illusions were flawlessly executed by both the off stage crew and cast onstage. The slight of hand magic tricks and prop comedy made for a fantastic display of why Beetlejuice has people coming back for more. 

Director Alex Timbers nailed the tone of the piece and led the cast to a victorious opening here in Melbourne. For a show all about death, you certainly come out of it feeling more alive!  

Beetlejuice is playing now at the Regent Theatre in Melbourne until the 31st August.

Grab tickets here.