This stage adaptation of Tim Burton’s classic 1980’s film is tamer than expected but there is enough entertainment to keep the audience engaged.
Let’s be honest transforming a Tim Burton film into a musical is not a natural assumption to make given the darkness of the stories he brings to life. Yet somehow, this stage adaptation of one of his biggest films Beetlejuice works because of the way in which it reframes the story slightly to offer a different perspective.
While the main plot line is followed, Scott Brown and Anthony King’s book incorporate Beetlejuice (whoops! said twice now) as more of a narrator to proceedings, while also highlighting the factor that Lydia and him are both outsiders trying to find a way through. It is a really interesting perspective and actually not a relationship that I had ever considered similarities between having watched the film countless times.
For those unfamiliar with the story, it begins with the death of Adam and Barbara Maitland (in a slightly different way to the film) who are desperate to get rid of the Deetz family and enlisting the help of a certain ghostly creature (I will save the name as much as possible). This leads to plenty of hilarity and adventure along the way (although you miss the fact that Juno is more involved) in the attempts of everyone involved.
Just like any musical, this particular show requires a emotional core and here it reveals how desperate Lydia is to connect with her dearly departed mother and the lengths that she will go to. Songs such as ‘Dead Mom’ and ‘Home’ enhances her feelings perfectly. It also has to be said the way in which she and her father Charles reconnect towards the end in the Netherworld is heartfelt.
There is also no denying that the special design effects by Jeremy Chernick, Michael Weber’s magic and illusion design and Peter Nigrini’s projection design bring the world that Tim Burton created with this specific story is impressive and in many ways immersive. Credit should also be given to Kenneth Posner’s suitably gothic lighting design and David Korins’ set design that bring the story to life. In addition, Kris Kukul’s orchestrations are wonderfully gothic and bring similarities to Danny Elfman but distinct enough to make it unique
However, while it has to be said that the script follows the outline of the story perfectly, it also feels a little bit flat musically. I did enjoy the pantomime quality to the way in which Beetlejuice is involved – the UK references felt spot on and the way in which the character engages with the audience feels well judged. Perhaps I just haven’t heard the songs enough but they just weren’t quite what I was expecting to enhance the darker qualities of the story but the most well known numbers “Day-O (The Banana Boat Song)” and “Jump in the Line” are well choreographed.
Director Alex Timbers does overall bring this zany story to life well, embracing the way in which all of the characters are completely unique. The characters are brought to life in this production that never try and replicate the performances of the film. At the centre of it all, David Fynn (who I really enjoyed watching in the School of Rock) excels at Beetlejuice (whoops again at naming names) – offering comedy but not sleaziness to offer a different perspective of the character to gleeful effect.
Elsewhere, Chelsea Halfpenny and David Hunter as the Maitlands offer warmth and goofy comedy as they try and adjust to their new life while trying to protect their home from being invaded. It was unexpected that Lydia (performed by Rachel Macdougall at the performance I was at) was somewhat exuberant – particularly in the scenes in which she and he should not be named are living in the house together.
Overall, this musical has plenty to offer entertainment wise – I just wanted it to lean a bit more into the gothic and darker side of the story more.
Rating: ❤️❤️❤️