REVIEW: Beetlejuice (National Tour)
Preview: I love a good theatrical homecoming. Beetlejuice, which opened today for a two-week run at the National Theatre, had its world premier here in DC at the same venue in 2018! If I remember correctly, reviews were mixed. Some found it an entertaining adaptation to Tim Burton’s 1988 film of the same name, whereas others found it to be a dick joke vehicle for Alex Brightman. I, regrettably, did not see it then like I should’ve, given the immense hype that would surround it on social media for years to come. But luckily, it’s made its way back to the nation’s capital, largely in-tact from its tumultuous Broadway journey.
Acting: The energy of this show relies crucially on the gruffy charisma of whomever is in the shoes of the titular demon, which Alex Brightman in all his wit delivered consistently on Broadway. Thus, it should be no surprise that Justin Collette, who understudied him on Broadway both in this and in School of Rock some years prior, has a solid handle on the role. His improv works wonders, his slimy persona is enjoyable enough to support the book’s comedy, and his chemistry with the cast is sublime. ‘Juice here may not be the most likeable or friendly face in theatre, but he sure is an entertaining one. Supporting him are Adam (Will Burton) and Barbara (Britney Coleman) Maitland, the couple who die in their home three songs in, and Lydia Deetz (Isabella Esler), the half-orphaned goth child whose family moves into the home thereafter. As the childless millennial couple archetype, Burton and Coleman work so well together, and I loved their chemistry. Particular shouts out to Coleman, as she was just cast in the national tour of the gender-swapped Company! See ya next year at the Kennedy Center! She had a great voice and I think her bubbly, confident personality will translate well to Bobbi as it did for Barbara. Lydia, whose broody frills captured the hearts of Gen Zers across the world these past few years, is actually elevated by Esler’s relative inexperience. She’s got quite the powerful voice given her age and (based on the slime tutorials I’ve seen of the OBC), I think is better than Sophia Anne Caruso, who originated the role. If this is her first big job, she’s got a bright stage future ahead of her. However, the remaining Deetzs leave a lot to be desired. Delia (Kate Marilley) and Charles (Jesse Sharp) are disappointingly flat compared to the others, even when the show boosts their characters with energy in Act II. At best, they’re “normal” (as close as you can be in something like this), but at worst, they’re colorless. 7/10
Production: David Korin’s set design is devilishly cartoonish, bringing all sorts of personality to even the most mundane details. It’s so fun witnessing characters interact with the stage elements alongside their intended designs, such as when Adam traces the door frame on the wall as a rhombus instead of a rectangle. The world therein is crazy and off-kilter, and it’s great to see this reflected in the characters. The costumes by William Ivey Long are equally as entertaining, with lots of textural and thematic diversity that had me eagerly awaiting what they’d pull out next. Speaking of pulling out, the technical staging reaches its apex in Act II with the introduction of the sand worm, the glowing mechanical beast that domineers the climax of the story. It’s quite a treat to watch, but it’s not even my favorite part of the production: the lighting design by Kenneth Posner is stunning. The lights are practically actors themselves, dancing and radiating with a mix of eclectic strobe and lush plastic hues. I’m confident that every color in the rainbow has its own scene to paint at some point. Combined with Connor Galagher’s widly entertaining choreography, you could make a whole show with just the amazing technical elements and no book acting, and I’d pay to see it. 10/10
Book/Music: Eddie Perfect’s flavor-of-the-week pop score misses more than it hits. It takes some bold-ish steps, such as starting with a ballad, and there are some catchy hits with great comedic wordplay. Overall, out of the entire 2.5 hour show, I think maybe one or two actually stuck with me. The melodies and musical motifs are where it shines, the few times it does. However, I reserve my greatest criticism for the lyrics. They fluctuate between mediocre and downright poor, and don’t get me started on how Lydia’s “I Want” song is simply called “Dead Mom”, which would be much more sensible if it were a remotely comedic number (it very much isn’t). The book actually makes use of intertwining real-life songs, particularly Caribbean folk ones, as plot devices. Those — especially the chaotic, disruptive Act I finale— were the musical highlights for me. The plot takes quite a bit through Act I to actually set up what it’s about. The first hour or so kills off the Maitlands and establishes Beetlejuice as the main guy, and then they just kind of… do antics until the last third of the act. Even then, entering Act II, conventional plot progression is thrown out the window until Beetlejuice gives up and goes back to the Netherworld, after a sequence of actions that directly contradict things he did right before them. Perhaps it’s simply not meant to be thought of that deeply? 2/10
VisDev: I’d dare to say that the preview staging is one of the most iconic of the last decade, if not this century. Easily attributable to the fact that it’s been plastered on Instagram stories, r/Broadway posts, and tiktoks abound, but for good reason: it’s extremely cool. The slanted set frame, the frantic lights, and the wobbly curtain are all eye-catching on their own, but the huge neon “BETELGEUSE” with the angled arrow pointing to a slit in the curtain that spliffs out green fog is pure razzle-dazzle. Like a mall parking lot carnival funhouse, it’s inviting, but much like the same carnival funhouse, you don’t expect a smooth ride…and you don’t get one. It literally sets the stage perfectly. The program art is less flashy, but to the point. Black and white strips with horror-themed decrepit wordmark of the show overlaid. It matches the show and subtly gives the right vibe, but is a lot less in your face than the show actually is. 9/10
