Beetlejuice at Prince Edward Theatre

Tim Burton’s Beetlejuice is a cult classic from the late 80s that set the precedent for unhinged anti-heroes and continues to build a following in the 21^st century. Its sequel, Beetlejuice, Beetlejuice, stunned fans in 2024 with many of the original cast returning. Now, the stage adaptation has come to London after debuting on Broadway in 2019. For those who don’t know, Beetlejuice follows the life of Lydia Deetz after her mother’s death and her father’s purchase of a haunted house. Directed by Victoria Gumby, this rendition of Beetlejuice adds in many exciting and refreshing tropes while maintaining much of the original story that audiences have come to love.

The show picks up right after the story setup, beginning with the funeral of Emily Deetz. Here, Lydia (played by Hannah Nordberg) sings the ballad Invisible. Seemingly out of place, the mood shifts when Beetlejuice (David Fynn) appears, breaking the fourth wall and announcing, “Holy Crap, a ballad already?! And such a departure from the original source material!” This immediately sets the tone for a self-aware satirical dark comedy. Fynn’s Beetlejuice is likeable and nails the comedic side expected from the character; however, his demeanour remains so lovable that his more sinister moments are less convincing.

As the story unfolds, David Hunter, playing Adam Maitland, often steals the show when on stage with his angular dance moves and accidental humour. The comedic timing of his subtle movements or script interjections consistently makes him a delight to watch.

On top of that, the cast performed the score expertly. Particularly, Nordberg’s effortless vocals and clarity of voice were a joy to listen to. In fact, the whole cast carried the music very well. The only criticism would be the attempt to fill almost every bar with so many words that often what was being said got lost in the cast’s attempt to keep up with the music.

The costumes of the original Beetlejuice film are almost as iconic as the film itself, making them just as essential to the success of the production as the script, direction, and score. Thankfully, this production rises to the challenge brilliantly. The costumes strike the perfect balance between homage and originality, remaining faithful to the movie’s beloved aesthetic while infusing the stage adaptation with its own flair, creativity, and theatrical exuberance.

One shortcoming is the lighting cues. Perhaps because it is so new to the West End, these aren’t as tight as they need to be and often leave the production’s illusory nature lacking the impact needed to convey the pivotal moments effectively.

Overall, Beetlejuice is a great show for both lovers of the original film and those just beginning to discover the wonders of this cult classic. It has many nostalgic moments, whilst still offering a new perspective for the most veteran fans of Beetlejuice. Once the lighting cues and music are tightened up, this will surely be a spectable that you will want to stick around in the West End for a long time.