Beetlejuice, the Musical REVIEW 16 May 2025 **** (4)

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

beetlejuice eddie-perfect-&cast members- image supplied

The dead dance into life with style and sass on Melbourne’s opening night of Beetlejuice the Musical, a rambunctious, high-octane adaptation of Tim Burton’s cult classic movie. With a book by Scott Brown and Anthony King and music and lyrics by Eddie Perfect—who also stars in the titular role—the show erupts onto the stage with a hilarious, fourth wall-breaking energy that’s part gothic cabaret, part Vaudeville fever dream.

 

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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CAST

• Beetlejuice – Eddie Perfect
• Lydia Deetz – Karis Oka
• Charles Deetz – Tom Wren
• Delia – Erin Clare
• Barbara Maitland – Elise McCann
• Adam Maitland – Rob Johnson

CREATIVE TEAM

• Director – Alex Timbers
• Choreographer – Connor Gallagher
• Book – Scott Brown & Anthony King
• Music & Lyrics – Eddie Perfect

SELECTED SONGS

• Prologue: Invisible
• The Whole Being Dead Thing
• Ready, Set, Not Yet
• Dead Mom
• Fright of Their Lives
• Girl Scout
• Say My Name
• Day-O (The Banana Boat Song)
• That Beautiful Sound
• What I Know Now
• Home
• Creepy Old Guy
• Jump in the Line (Shake, Senora)