The first thing to note about Beetlejuice the Musical is that it may not appeal to purists of Tim Burton's 1988 film. However, this is not necessarily a drawback. While screen-to-stage adaptations often face criticism for being formulaic, exceptions like The Lion King prove otherwise. Composer Eddie Perfect's musical rendition reimagines the supernatural comedy, retaining core elements while reshaping them into a distinctly 21st-century Broadway experience. For many audience members at the Prince Edward Theatre, who arrive in costume, this is more than sufficient.
A Broadway Hit Transformed
Alex Timbers' production was a major success on Broadway, and its cast recording has cultivated a dedicated London fanbase. Many of these fans regard the musical as the definitive version, perhaps never having seen the original film. However, for those familiar with Burton's work, the changes may be jarring. The surreal bureaucracy of the afterlife is reduced to a mere Easter egg, and Michael Keaton's iconic portrayal of Betelgeuse is replaced by a fourth-wall-breaking, meme-spouting comic figure who is no longer a bio-exorcist.
Character Overhaul and Performances
Given that Keaton's Betelgeuse appeared on screen for only about 15 minutes, the character's expansion for a full-length musical is understandable. David Fynn's Betelgeuse greets the audience with a barrage of meta-wit and pop culture references, positioning himself as the lead from the start. He orchestrates a convoluted scheme to gain a foothold in the human world through Lydia Deetz, played by Hannah Nordberg. Fynn's charismatic performance and Perfect's bright, guitar-driven melodies are standout elements. The dialogue, by Scott Brown and Anthony King, excels in humor but falters in sincerity, while Perfect's lyrics shine in ballads despite labored jokes.
Visuals and Nods to the Original
David Korins' sets and Peter Nigrini's projections pay homage to Burton's aesthetic. While the production lacks the spectacle of Timbers' Moulin Rouge!, it remains visually appealing within the confines of the Maitlands' house. The iconic sandworm appears, along with cameos from Juno and Harry the Hunter. However, the story focuses on Betelgeuse's quest to become human and Lydia's grief-fueled rebellion. Nordberg delivers strong vocals but lacks Winona Ryder's sullen charisma, partly because she must sing throughout.
Tonal Inconsistencies
The musical struggles to maintain a coherent tone, oscillating between a Family Guy-esque comedy and a heartwarming tale of reconciliation. This results in a leaden-footed progression toward a mawkish finale. Betelgeuse's aside that the Maitlands are the real villains falls flat because the satire of snobbish homeowners has been removed. Similarly, jokes about Paddington the Musical elicit laughs but feel disconnected from the character's reality.
Ultimately, Beetlejuice the Musical offers nice sets, pleasant ballads, and humor tailored to modern Broadway enthusiasts. It may entertain those who enjoy knowing, 21st-century comedy, but it sells the source material short. The production runs at the Prince Edward Theatre until April 17, 2027.
