The National Theatre currently houses the world premier of Beetlejuice, a musicalized version of the 1988 film of the same name. The last time I saw a Pre-Broadway tryout at the National, I had a mixed opinion on Mean Girls. But since then, Mean Girls has made most of the necessary changes to be a well written musical adaptation of a film. I can only hope that Beetlejuice is able to do the same, as it is a fun and entertaining piece of theatre, but not quite ready to hit Broadway just yet. The musical centers around Beetlejuice (Alex Brightman), a demon from the netherworld whose mission is to murder human beings and cause chaos through Lydia (Sophia Anne Caruso), a living teenage girl tired of being invisible to her father, who has ignored the death of her mother. Despite this musical being based on a cult classic film, the musical is an entirely different animal. The film focuses on Adam and Barbara Maitland, a recently deceased suburban couple trying to navigate their way in the afterlife. This is the biggest of many differences between the film and its stage adaptation. Most of the changes made work well and enhance the story. If you want to see a musical that impersonates its source material, you can go see Pretty Woman.
The creative team of Beetlejuice includes Eddie Perfect, who wrote the music and lyrics. Perfect, who also wrote the music for this season’s Broadway musical King Kong, delivers a score that explores many genres of music. Each character seems to have their own sound. Despite the music’s lack of memorability, it is still relatively fun and enjoyable, and Perfect does a great job of writing music that fits the style of the characters he is writing for. The show--particularly the first act--includes quite a few short songs that feel unnecessary and could probably work better as dialogue. Scott Brown and Anthony King’s book does a good job of adapting the film to the stage. In the first act the book was nearly where it needs to be for a Broadway run, but the second act deals with a few more problems. The general plot and dialogue of the second act is much more confusing than that of the first act. Alex Timbers’ directional vision is perfect and gets across well, but his staging often fails to make use of the incredible set by David Korins (Hamilton). Connor Gallagher’s choreography is unique and diverse in style. Unlike the staging, the choreography is full on and large, using the space to full effect.
The material of the show is balanced, and perhaps even surpassed by the stellar cast. Alex Brightman‘s comedic timing is perfect for a part like this, and he creates his own version of Beetlejuice while still sharing similarities to Michael Keaton in the film. Sophia Anne Caruso’s Lydia is an incredibly developed character, and her voice is the perfect balance of innocence and angst. Rob McClure and Kerry Butler are so perfectly cast in their parts that at times the two seem underutilized.The cast’s biggest standout was Leslie Kritzer as Delia, who is perhaps the funniest cast member of the show.
The technical aspects of the show manage to perfectly emulate Tim Burton’s style in the film. David Korins’ spectacular set was perfectly complemented by Kenneth Posner’s lighting, which is amazing from before the show even begins. Peter Hylenski’s sound design is perfectly balanced between the actors and musicians, and it feels unique to the style. The costumes by William Ivey Long are also brilliantly designed and detailed. Other technical highlights include hair and wig design by Charles G. LaPointe and puppet design by Michael Curry.
Will Beetlejuice fulfil its potential and become a fun, big, and spectacular Broadway hit? That is up to the future, but some work on the show by the time it begins Broadway previews in March could make Beetlejuice a brilliant crowd-pleaser. Shake, shake, shake, Senora!