Review by Suzanne Tate
For the Gen Xers amongst us, Beetlejuice: The Musical is a flashback to our youth. It is based on the 1988 film Beetlejuice starring Michael Keaton, Winona Ryder, Geena Davis and Alec Baldwin, although substantial creative license has been taken to modernise and reinvigorate the plot by the writers Scott Brown and Anthony King. There is a lot more depth, emotion and room for character growth in their version of the story.
The Melbourne season of this Tony Award-nominated musical is special, as the title role is played for the first time by local star Eddie Perfect, who also wrote the music and lyrics. Perfect, as Beetlejuice, provides much of the momentum and energy for the show. The character of Beetlejuice not only breaks the fourth wall, he explodes through it! His lyrics, character interactions and asides to the audience are the major source of comedy in the show, which keep the laughs flowing. Despite being the villain in the movie, Beetlejuice: The Musical is more forgiving, providing the title character with the opportunity to redeem himself, and his accidental revelations about his sad childhood even foster sympathy from the audience at times. Despite playing such an over-the-top character, Perfect’s delivery is nuanced, demonstrating great flexibility in acting and vocal performance and excellent comedic timing, keeping the audience in the palm of his hand.
The character of Lydia Deetz, played by Ryder in the film, is portrayed by Karis Oka. Oka is a relative newcomer to professional theatre, debuting in Six at the Sydney Opera House 5 years ago, but has already accumulated a significant list of credits to her name in theatre, TV and film. She did an excellent job playing Lydia, which, as a character, is more three-dimensional and challenging in the musical, due to significant plot changes. In the musical, Lydia is still freshly grieving her mother’s loss, and the character of Delia, played by Erin Clare, is not her stepmother but rather a life coach hired by her father to help her move on—while secretly having an affair with him. Oka was convincing in the role of a lost and grieving 16-year-old and displayed an impressive vocal range and strength. Clare’s Delia is also more likeable in the musical version but is a less memorable character because of it. Clare showcases her substantial musical talents in ‘No Reason’, as Delia tries to teach Lydia to have a more optimistic outlook on life. Lydia’s father, Charles, is played admirably by Tom Wren. The musical version of this character is much less passive and more in charge, but like many of the characters, has the opportunity for real character growth in the Musical, as opposed to the original film, which Wren conveys effectively.
The show’s remaining major roles are Barbara and Adam Maitland—played by Elise McCann and Rob Johnson—who, as the recently deceased former owners of the house, now linger in the home Lydia has reluctantly come to inhabit. McCann is an excellent performer (she was outstanding in Groundhog Day last year), but I felt the character changes did not allow either McCann or Johnson to really shine. In the film, the characters are kind and warm, but also decisive, and do not hesitate to take creative action to scare away the new residents. The musical’s version of Barbara and Adam are given more character development and issues to work through, but are presented as much weaker and scared individuals, with Johnson’s Adam appearing as a stereotypically weak, bumbling nerd AKA Brad from Rocky Horror Show, with less bravado. McCann’s Barbara gets to break out of this from halfway through Act 2, with ‘Barbara 2.0’, but Johnson’s Adam takes even longer to develop a backbone. McCann and Johnson performed the duet ‘Ready, Set, Not Yet’ in Act 1 extremely well, which contained Johnson’s only solo. They worked well together to present a convincing couple and over the course of the show, demonstrate the slow realisation that they had been hiding from the world.
Overall, the presentation of each musical number appeared flawless. As the Musical Director, Anthony Barnhill created a polished performance throughout the entire show, which is made up of a variety of musical genres. Aside from the powerhouse vocal performances of Perfect and Oka, the outstanding vocal performance of the night was undoubtedly Angelique Cassimatis as Miss Argentine. ‘What I Know Now’ requires a powerful belt, and Cassimatis displayed amazing vocal power and nailed the high C, while infusing the song with character and emotion.
The scenic design by David Korins is of particular importance in Beetlejuice: The Musical. As the Director, Alex Timbers explains in the Programme, the house is presented almost as a character, with its own development arc. Transitioning from folksy and tranquil as the Maitland’s home, to the Post-Modern décor of the Deetz’s and finally transforming into Beetlejuice’s iconic style. Other settings include the opening, a haunting cemetery scene, introducing the effective, drawn, animated projection designed by Peter Nigrini that is used between scenes throughout the show, and the Act 2 visit to the Netherworld is extremely eye-catching, despite a seemingly minimalist, geometric set. Dramatic lighting, designed by Kenneth Posner, is essential to the effectiveness of this scene, indeed to the whole show, although the frequent blinding lights shone directly at the audience are often bordering on painful, and the strobe effects warrant a warning for people with epilepsy. Another visual element essential to the overall effect of this production is that of the costume, designed by William Ivy Long. Beetlejuice’s iconic suit, looking a bit worse for wear until the curtain call, the recurring black and white nods to Beetlejuice across the cast’s costumes, the informative outfits of the various ghosts and the even more dramatic costumes such as the skeleton figures, all add to the visual richness of the show.
Another very important aspect of Beetlejuice: The Musical is the use of special effects, puppetry and automation. The sandworm in particular was a requirement, as a memorable and pivotal part of the original story, and it did not disappoint. The highly effective Special Effects were created by Jeremy Chernick, Puppetry by Michael Curry and Magic & Illusion designed by Michael Weber.
There is very little to critique in this entertaining, engaging and enjoyable show, other than feeling at times that some of the songs were just a fraction longer than they needed to be (I probably wouldn’t even have noticed if the seats at The Regent were just a bit more comfortable). Beetlejuice: The Musical is a high-octane offering full of energy, polished performances, stunning vocals and visual effects, that re-energises and enhances the original story. It is fantastic to see such a production come to Melbourne, with a local not only in the title role, but also responsible for the creation of the music and lyrics of such an impressive show. A wonderful night’s entertainment, regardless of whether you were a fan of the movie.
