In this review spot, I discuss my work as an Actor in role play/workplace simulations for care workers’ training assessments.
I talk about simple improvisational techniques such as offers, accept, block, save.
My work includes role playing characters for Aged Care, Community support, youth and family intervention, and disability workers.
In this review spot, I discuss the musical, Beetlejuice, with Phillipa Edwards, host of Arts Weekly.
Then I talk about Tabletop Shakespeare (which I’ve not seen yet), which is a series of shows retelling each of Shakespeare’s plays using kitchen items. Yes!
It’s by UK company, Forced Entertainment and is in Melbourne as part of Rising Festival.
MUSICAL THEATRE
Book by Scott Brown & Anthony King, Music & Lyrics by Eddie Perfect
At Her Majesty’s Theatre, Melbourne until 31 August 2025
Reviewer: Kate Herbert
Stars: **** (4)
This review is published only on this blog. I’ll present a radio review on Arts Weekly on 3MBS on Sat 7 June 2025. KH
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| beetlejuice eddie-perfect-&cast members- image supplied |
From its very first number, The Whole ‘Being Dead ‘Thing, the show declares its mischievous irreverence. The charismatic Eddie Perfect is riotously good as Beetlejuice—boisterous, brash, and impossible to ignore. With his trademark vocal eccentricities and comedic timing, Perfect is so clearly perfect for the role (Sorry! How could I not say it?), it's unsettling. He prowls the stage like a rock star with a death wish, desperate to claw his way back into the land of the living.
The premise follows the Maitlands—sweet, sheltered newlyweds played with wide-eyed charm by Elise McCann and Rob Johnson—who die in an unfortunate electrical accident. Now ghosts, they find their home invaded by the grieving Lydia Deetz, portrayed by the talented Karis Oka. Oka brings pathos and powerhouse vocals to the role of a teenage goth coming to terms with her mother’s death in haunting numbers like Dead Mom. Her emotional journey anchors the mayhem with sincerity.
Tom Wren is dignified as Lydia’s befuddled father, Charles, while Erin Clare nearly steals one scene as Charles’ ditzy fiancee, Delia, the self-absorbed life coach with a penchant for pop psychology, spiritual weirdness and designer caftans. The vivacious ensemble is impressive as a revolving door of ghouls, skeletons and nightmarish bureaucrats.
Director Alex Timbers keeps the tone playful and the pacing snappy, supported by Connor Gallagher’s energetic choreography. Act One rockets along but Act Two loses steam during the chaotic journey to the underworld that is overcrowded with a running parade of every bizarre character mentioned in the song lyrics, while the father-daughter reconciliation in hell feels contrived and emotionally rushed.
It is also puzzling and disappointing that Beetlejuice, the central character, does not have a “Wow!” song as he exits the stage. We want a big Eddie number so we can stand and cheer him on his way.
Still, with a versatile and magnetic cast, dynamic design, and darkly delightful humour, Beetlejuice is a rollicking night at the theatre—even if the ending makes death seem a bit too tidy.
By Kate Herbert
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| beetlejuice eddie-perfect-&cast - image supplied |
CAST
CREATIVE TEAM
SELECTED SONGS
