PicksInSix Review: Beetlejuice-The Musical - Broadway in Chicago
“Beetlejuice” – ‘Being Dead Has Its Perks!’
PicksInSix® Review | Ed Tracy
There is a monster sandworm burrowing its way into theaters across the country and its filling houses and bucking ticketing trends at every stop. There are levitating bodies and the tiny head guy is there, too, albeit briefly, for the multiple Tony Award nominated musical “Beetlejuice” that opened here at the Auditorium Theatre on Wednesday to the delight of enthusiastic movie followers, cult fans and a dusting of first-timers, of which I was one.
I am pleased to say that those attending were treated to a black and white striped (and green-hued) spectacle of snappy repartee, soaring ballads, splashy production numbers and eye-popping special effects that showcased a superb ensemble. But it is the unhinged brilliance of stage veteran Justin Collette as the sly, demonic and blue-cheesy Beetlejuice, and the enormously talented Isabella Esler making a star turn in her national tour debut as Lydia Deetz, that people will be talking about for a long time.
For those uninitiated: “Beetlejuice” opened on Broadway in 2019, closed during the pandemic, was successfully resurrected in April 2022, and closed in January 2023 with plans for this tour well underway. The show is based on Tim Burton’s 1988 film starring Michael Keaton with the musical book by Scott Brown and Anthony King, with music and lyrics by Eddie Perfect. It begins with Beetlejuice (Collette) at the graveside services for Lydia’s mother, Emily, who is grief stricken by the loss. Meanwhile, at the home of Adam (Will Burton) and Barbara Maitland (Megan McGinnis), death come quickly and the pair are exiled to the attic. When Charles (Jesse Sharp), along with his gal Friday/lover Delia (Kate Marilley) and Lydia show up to move in, everyone is initially amused by the couple’s ghostly antics, except Lydia, who will do anything to thwart her father’s plan to marry Delia and preserve the memory of her mother.
The Maitland’s form an alliance with Lydia, but when things don’t go very well, Lydia succumbs to Beetlejuice’s deceptive charm, says his name three times, and “It’s Showtime!” From there, it’s not long before this farce gains momentum, the house is overrun with ghouls, goblins and other wild goings-on, and Lydia realizes that she is the only rational living thing in the middle of all the madness. A trip to the Netherworld and lots of freakish folly follows that all adds up to one helluva show.
Collette’s comic timing and impish glee serves his bizarre otherworldly character well. The super-charged chemistry with Esler is a perfect match. And, when she’s by herself, Esler explodes with a powerhouse vocal range that belies her youthful stature. This is a magnificent breakout performance, delivered with charm, passion and sincerity and wonderful to see and hear.
You could not ask for more visually from the Alex Timbers directed production team including the intricate set (David Korins), elaborate projections (Peter Nigrini), stunning costumes (William Ivey Long), raucous choreography (Connor Gallagher) and outstanding music direction (Kris Kukal). Of particular note are the multiple views of the Maitland’s house through its various transitions and a clever transition to the Netherworld that reminds one of the opening of a Twilight Zone episode. So, if you already have a ticket to see this production of “Beetlejuice-The Musical” you are in luck. The relatively short run through November 19 is selling fast, so quickly, in fact, that it was announced this week that the show would be returning in May 2024 at the Nederlander when everyone will again be saying: Beetlejuice! Beetlejuice! … You get the idea.
PHOTO|Matthew Murphy
Broadway in Chicago
presents
Beetlejuice
Auditorium Theatre
through November 19
WEBSITE
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