‘Beetlejuice’ Makes a "Spirited" Debut at Marcus Center

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Photo by Matthew Murphy via Marcus Performing Arts Center

Justin Collette in ‘Beetlejuice, The Musical’

Justin Collette in ‘Beetlejuice, The Musical’

Just in time for Halloween, Beetlejuice, the Musical arrives as the first offering in the Marcus Center’s 2024-25 Broadway season. The musical plays though October 6 in the Marcus Performing Arts Center.

In fact, Beetlejuice seems to be on everyone’s minds these days. The sequel to Tim Burton’s popular 1988 film, starring Michael Keaton, Winona Ryder and Catherine O’Hara, has inspired both a musical and a movie sequel. The film sequel, titled Beetlejuice, Beetlejuice, is currently playing in movie theaters nationwide. Some of the original film’s actors return in the sequel, although Ryder now has become a mother to another goth-type teen, played by the star of Netflix series “Wednesday,” Jenna Ortega.

In 2019, the Beetlejuice canon was extended to include a Broadway musical, which now appears in Milwaukee thanks to its national tour. It’s great to say that the tour, led by Beetlejuice star Justin Collette, is just as wacky, irreverent and frenetic as its Broadway counterpart. (This reviewer saw the Broadway show in 2022.) Sure, the tour’s leading man can’t erase the memory of its Broadway star, the Tony Award-winning actor Alex Brightman (Beetlejuice, School of Rock – The Musical). But he puts his own spin on the material, and the results are absolutely hilarious.  

Beetlejuice, the Musical was developed by Scott Brown and Anthony King (book), with music and lyrics by Eddie Perfect and orchestrations by Kris Kukul. The tour also brings back the musical’s original director, Alex Timbers, and choreographer Connor Gallagher. Young audiences love this show, although it should be noted that the PG-13 musical contains strong language, references to cocaine use, sexual themes, etc. Adults should note that there a couple of jokes are aimed at Republicans, which seems timely with the presidential election only a month away. 

The show’s edgy, offbeat tone is established in its brilliantly staged opening number, “The Whole (Being Dead) Thing,” which Beetlejuice and a chorus of funeral-clad mourners perform in a creepy-looking cemetery. “In case you die during the performance,” Beetlejuice informs the audience, “we’re not stopping the show.” This production number sets the frantic pace to come, as the stripe-suited Beetlejuice explains how he can make life miserable for the living. Beetlejuice is, of course, dead, as are his home’s recent owners, Adam and Barbara Maitland (more about them later). 

Musical Puts Spotlight on Lydia Deetz

Unlike the original film, the musical’s main focus is Lydia, a teenager whose mother recently died. Months later, Lydia is still in full mourning. She insists on wearing the same black dress (and Doc Martens boots) every day (costumes by well-known designer William Ivey Long). Her father, Charles (a nicely delivered turn by Jesse Sharp), seems to have already moved on. In fact, he’s currently having a fling with the woman he hired to be Lydia’s psychologist. As the crystal-worshipping Delia, Sarah Litzsinger is pitch-perfect throughout. Although very much alive, Delia is somewhat otherworldly herself. She is annoyingly optimistic around Lydia, who sees right through Delia’s façade in the way that teenagers can. Early on, Delia seems to be one “namaste” away from being carted off to a nut farm. 

All of the musical’s subplots are not nearly as interesting as Beetlejuice himself. The flamboyant character draws everyone’s attention to the point where scenes without him seem a bit flat.

That is no shade on the musical’s score, which is better than most of what appears on Broadway today. Lydia’s plaintive ballad, “Dead Mom,” the cagey “Say My Name,” and the Act II opener, “That Beautiful Sound,” are some of the musical’s highlights. Of course, how could there be a Beetlejuice without “Day-O (the Banana Boat Song),” the Jamaican folk tune sung by Harry Belafonte? Fragments of the song interrupt an important business dinner in Lydia’s house, with various diner’s movements being “directed” by the now-dead Maitlands. This hilarious scene involves unwilling characters who make all sorts of vulgar motions and inventive dance moves as the song plays on, much to the concern of Charles, who is trying to impress wealthy clients with his real estate savvy. The plot backfires, which forces Lydia to deal with Beetlejuice, who knows how to empty a room. 

A recurring theme that begins at the top of the show and expands in Act II is Lydia’s yearning to reconnect with her mother. Lydia feels lost and alone without her closest ally. Her world is dark, and at one point she contemplates suicide in order to re-join her mother. In Act II, she puts her life in danger again by probing the depths of the Netherworld in her attempt to reestablish contact with her mom. Finally, it’s Charles who gets the message that his love alone is the answer to Lydia’s torment. This storyline brings a touch of softness and sadness to this otherwise slick, brash, laugh-a-minute musical. Who hasn’t lost someone in their lives who they would do almost anything to reconnect with?

Although the main characters are well-established here, actors in minor roles are equally impressive. Maria Sylvia Norris delights as Juno, the receptionist to the Netherworld. Actor Madison Mosley makes an impressive, brief appearance as a plucky Girl Scout who nonetheless is scared out of her wits by Beetlejuice’s antics. Of the many fine performances seen here, few can match the impressive team of Megan McGinnis and Will Burton as the geeky, deceased Maitlands. Their chemistry plays off each other well, as they turn from their boring, former married lives to attempt something bolder and more daring. Both actors display powerful voices, as do the rest of the hard-working cast.

All the Beetlejuice Film Favorites Are Here 

Some of the Beetlejuice film favorites also make cameo appearances in the musical, such as a shrunken-headed accountant named Bob, and the two-headed sand worm. Sadly, some technical problems on opening night plagued the entire performance. Some of the stage effects were muted or eliminated, and the lighting was particularly erratic. If anything, it demonstrates how dependent these technology-driven shows can be. However, the uber-professional cast carried on masterfully, despite the frequent glitches. One hopes these technical glitches can be repaired prior to subsequent performances.

It takes a powerful Beetlejuice character to make the whole musical work, and Milwaukee audiences have no worries when it comes to actor Justin Collette. No matter how evil and treacherous his character’s actions may be, he leavens it all with humor. And even the show ends on an upbeat note, as the remaining characters sing “Jump in the Line (Shake, Senora)” while reclaiming their drafty old house as a new home for Charles, Lydia, Delia and the (now-visible) deceased Maitlins.     

Beetlejuice runs through October 6 as part of the Johnson Financial Group Broadway at the Marcus series, 929 N. Water Street in Milwaukee. For tickets, visit marcuscenter.org, or call the box office at 414-273-7206.