Beetlejuice (theatre)

Beetlejuice is a 2018 musical. It is based on the movie of the same name. Alex Brightman plays the title character, and Sophia Anne Caruso played the original Lydia Deetz.

Emily Deetz has died; her husband Charles and daughter Lydia mourn her, with Lydia worrying that her dad is moving on with life and forgetting about her mother. They move into a house with Lydia's life coach Delia, not knowing that it's haunted by the previous owners, Adam and Barbara Maitland. Not helping is Delia's perky attitude refusing to acknowledge the elephant in the room, and she's having an affair with Charles.

Beetlejuice then interrupts these proceedings and awkwardness to remind the audience this is a play about death, and it's a comedy! He schemes to manipulate Barbara and Adam to help him become human again. When they fail to impress him with haunting ideas, Lydia becomes his plan B.

When Beetlejuice premiered on Broadway in 2019, it received a muted response despite rave critical reviews and multiple Tony nominations (not to mention wins from the Drama Desk, Drama League and Theatre World) and the pandemic forced the show to shut down. When it reopened on April 8, 2022, however, the audience was much more receptive. Brightman couldn't even say his first line on reopening night before applause drowned him out.

The show is set to close in January 2023 for financial reasons.

"Holy crap! A ballad already! And such a bold departure from the original source material!"
 * Actually Pretty Funny: Much as in the film, this is why the Banana Boat dinner backfires. After the guests and house residents get over the initial shock, they find the haunting pretty amusing. It might have been the conga line that overdid it, as the investors start enjoying themselves while dancing and order Charles to not apologize. Adam and Barbara sincerely apologize to Lydia on realizing they did the scare too well.
 * Adaptational Heroism:
 * Charles is stern and less of a Bumbling Dad, but in the movie, he was immediately thinking how to turn Adam and Barbara into his next money-making attraction after the Banana Boat-hijacked dinner. The musical reveals that he moved himself and Lydia to a new house for a fresh start, to cope with Emily's death, and pays Delia as a life coach to help Lydia with her grief. He maintains a stoic demeanor because he truly believed Unlike in the movie where he wanted to profit off the hauntings, he gives a Big "What?" when the investors spring the idea on him mid-conga line. Act Two has him go Papa Wolf when Beetlejuice.
 * While Delia becomes less assertive, smart and confident as a result, she is genuinely worried about Lydia's well-being in the show and doesn't dismiss her statements offhand. In the movie, she's a bit stern and tells Lydia to not make up wild ghost stories when Lydia says the house is haunted, as well as bossing her around to make the ghosts come on command after realizing Lydia was telling the truth. Charles hired her to be Lydia's life coach after Emily died, and Delia comes to truly love both of them. When they talk about breaking the news to Lydia that they're getting married, Delia wants to ensure that the news doesn't harm her future stepdaughter. She even offers that they could convert one of the spare rooms into a darkroom for Lydia's photography, while Charles had that line in the film.
 * Adaptational Jerkass: This is a consequence of making Lydia the protagonist, rather than the deuteragonist as she was in the film. The film had her as the Only Sane Woman that befriends Adam and Barbara, reassuring them she doesn't want them out while trying to serve as their voice to her father and stepmother. She fully prepares to marry Beetlejuice to save the ghost couple. While she's grieving over her mother's death and Delia understands why Lydia would freak out about her life coach marrying her widowed father, she does a few more Jerkass things in the musical. For one, the hijacked dinner is her idea when Adam and Barbara are simply too nice to think of how to scare the Deetzes out, but Lydia trusts them more than she trusts Beetlejuice. Act Two also has her hang out with Beetlejuice and under his influence.
 * Armor-Piercing Question: Beetlejuice tries to convince Lydia to summon him by possessing Adam and Barbara to say nice things about him. Because he cannot lie, however, he says that any ghost can do possession. She asks, understandably, "Then what do I need you for?" He scrambles to pull up an answer, and she shuts him up by pushing him off the roof.
 * Becoming the Mask: Beetlejuice plans to use Lydia to become alive again, and only sees her as his ticket from being undead, while establishing that he doesn't want to have a romantic relationship with her because that would be super creepy even for a Villain Protagonist. Act Two opens up with him genuinely enjoying her company as they scare people at the front door For the Evulz and showing Green-Eyed Monster when she wants his help to find her mother in the Netherworld. Indeed,.
 * Beware the Honest Ones: Owing to his nature, Beetlejuice cannot lie. He can, however, manipulate the living and the dead to do his bidding. That makes him dangerous, and "unstable" as Adam notes.
 * Big "What?": Both Charles and Adam say this when Maxie Dean says that the ghosts will make the investors rich during the hijacked dinner. Adam is so shocked that he stops the possession immediately.
 * Bratty Teenage Daughter: Unlike in the movie where Lydia is the Only Sane Woman and tries to warn her parents about the ghosts, she embraces this persona in full to cope with her grief about losing her mother. Ruining the dinner becomes her idea. Act Two deconstructs this tendency;, she pranks several people who come to the door, including a Girl Scout that unknown to her has a heart condition where any stress can kill her. While she hesitates with said Girl Scout Skye, she still goes through with the prank and sends the poor girl running and screaming. Beetlejuice more than approves; Adam and Barbara don't.
 * Breaking the Fourth Wall: Beetlejuice does this throughout the show.
 * Chekhov's Gun: The "Giant snake " in the opening..
 * Curb Stomp Cushion: Credit to Delia during the dinner party, she freaks out when Barbara brings the roast pig to life and uses it to bat at her playfully, but she fights back before the pig wins. You can even see her in a video clip punching the pig square on the snout.
 * Dope Slap: Lydia smacks Beetlejuice in the chest during "Say My Name" while saying she's not dumb enough to summon a demon based on his word alone.
 * Easily Forgiven: Ironically enough, Beetlejuice isn't the one who incites this. Everyone treats him with suspicion and distrust, understandably so. Instead, he acts this way towards Lydia. She pushes him off the roof, which incapacitates but doesn't kill him. He waits for her to call him . In the climax, she pretends to agree to.
 * Even Evil Has Standards: Beetlejuice plots to marry Lydia, but he reassures his doubles and the audience that it would be super creepy if he actually wanted her; marrying Lydia will bring him back to life, so it's a "citizenship marriage". The musical's climax has.
 * Everyone Has Standards:
 * Lydia is mad at her father for seemingly moving on from her mother and not caring how she feels. When Beetlejuice suggests killing him however, she gives a Big No. In Act Two, she briefly hesitates about pranking a sweet Girl Scouts girl before going through with it, to Beetlejuice's amusement.
 * Despite figuring out rather quickly that Beetlejuice is bad news, Adam and Barbara are aghast when Lydia casually pushes him off the roof. She has to point out "He's already dead" for them to get over it. Ultimately, this trope is why Adam and Barbara can't be scary; sure, they have a few good ideas with Lydia at the dinner party like with bringing the roast pig to life, but neither of them actually wants to hurt anyone while they're ghosts. It's their protective instinct towards Lydia in the Second Act when Beetlejuice uses Barbara as a bargaining chip that makes Charles and Delia realize that the ghosts aren't their enemies, and.
 * Hidden Depths: Charles admits that, contrary to his outward exterior,.
 * I Gave My Word: Beetlejuice may manipulate a situation to his benefit, but he keeps all his promises. Blackmails Lydia.
 * Mama Bear: Despite the fact that Delia is The Ditz and too perky to realize she's in a dangerous situation, she shows she will protect Lydia with her life. She's outraged on learning that Otho, and joins the adults when.
 * Morality Chain: Lydia becomes this for Adam and Barbara, as well as her father, Delia and . What makes the ghosts and the living adults call truce in the second act? When Beetlejuice coerces Lydia to marry him so he'll be human, even though he's way older than her and openly says it's because he wants to be alive again.
 * Papa Wolf: Adam doesn't want Beetlejuice anywhere near Lydia. When seeing Beetlejuice talking to her on the roof, Adam screams at Beetlejuice, "You get away from her! Lydia, this is a dangerously unstable individual." It's this quality that eventually endears him to Charles, who feels the same way about his daughter.
 * Pragmatic Villainy: Unlike in the movie where Beetlejuice encouraged Lydia to never give into her suicidal thoughts, he stops her from jumping on seeing that she can benefit his plans to become human. He just made a mistake; Lydia can see that he's Obviously Evil and has ulterior motives.
 * Screen-to-Stage Adaptation: Lampshaded with Beetlejuice's very first lines:


 * His opening number "The Whole Being Dead Thing" includes multiple references to the fact that the audience is watching a play, including a threat to kill the owner of a ringing cellphone and how many times a week he performs in the show, written right into the lyrics of the song.


 * This Is Gonna Suck: Adam and Barbara, combined with Oh Crap, have this reaction in the Act One finale when their attempted hijacking of the dinner backfires, and Lydia becomes so desperate that she . They brace themselves for the inevitable chaos.
 * Troll: Lydia winds up Beetlejuice several times after he does charades so she can figure out his name. She seems like she's going to summon him, but chooses another word for the third time she's supposed to say "Beetlejuice".
 * Wham! Line: "I can't keep living like this!" Lydia shouts at the end of Act One, before
 * Who Would Be Stupid Enough...?: Lydia asks Beetlejuice this in "Say My Name"; why would she summon him after figuring out his name, when just meeting him? He showed up and casually suggested offing her father. That does not indicate he is trustworthy. "I may suicidal, but Beetlejuice, that doesn't mean I've lost my mind!"
 * You Are Worth Hell: Parental example; Charles proves that he does care about Lydia by.