Obituary: Betelgeuse ‘Beetlejuice’ Juice (it’s a show about death!)
It's showtime! Say his name three times and watch what happens...
A black hearse pulls up on Old Compton Street in Central London, as a dozen or so mourners, donned in black brollies, hand out flyers to passers-by. Flyers which wish the deceased ‘never, ever, rest in peace’.
Printed in medieval-like Blackletter, the heading reads: ‘In loving memory of...’
Who (and why)? I hear you ask. (The question is rhetorical.)
Beetlejuice...
Beetlejuice...
Beeeeeee...cause if this bio-exorcist’s name is said by a living human three times in a row, according to himself, he will be summoned to haunt the West End in an eponymous, highly metatheatrical musical.
Birth Certificate: Beetlejuice The Musical (The Musical. The Musical)
Date and place of birth: 28th May 2026, Prince Edward Theatre, London
Name and occupation of father: Unknown(?)
Name and occupation of mother: Juno, Afterlife Caseworker
For those unfamiliar with the 1988 Tim Burton gothic horror comedy film, the musical adaptation’s premise could not be more of a maze: The Maitlands, a recently deceased American couple, attempt to haunt The Deetzes, new tenants of their former home, with the help of the titular character, with ghosts, ghouls and everything in between along the way. After first taking Broadway by storm in 2019, the show crosses the pond to a cult fan base, who have eagerly anticipated the show’s arrival in London for some years (but ghosts age at a slightly faster rate, we’re told).
Alex Timbers’ signature high-octane style slides naturally into David Korins’ deliberately asymmetrical, portal-like set evoking an amusement park and cartoon crossover; vibrant costumes by William Ivey Long pop out against the monochromatic motifs of the Afterlife, complemented by flashy visuals from lighting designer Kenneth Posner and video designer Peter Nigrini.
Leading the company as the self-proclaimed ‘man on the marquee’, David Fynn’s Beetlejuice is the definition of a diva; unapologetically flamboyant and an impeccable sense of comedic timing, even if the material he works with gets increasingly random, Fynn makes the role his own with subtle quirks that shows the potential interpretations the character can offer (personally equally excited to see Tom Xander’s version as alternate for the role). Sharing this diva energy is Aimie Atkinson’s Delia, second wife to Charles Deetz (Alasdair Harvey) and consequently stepmother to his daughter Lydia; presented vocally as somewhere between a salesperson and cabaret star, Atkinson hilariously delivers one-liners with a generous dose of vocal fry.
Albeit written as a stereotypical couple as portrayed on American sitcoms, David Hunter and Chelsea Halfpenny make the most out of their time (in both their present and afterlives) as the charming and naïve ingenues Adam and Barbara Maitland. Following the initial struggle to (quoting Delia) haunt this b*tch, they find themselves on a wonky arch to become the braver “Barbara and Adam 2.0”.
The duo shares warm chemistry with Hannah Nordberg, a rising star in musical theatre with an endearing interpretation of Lydia. Jumping from deadpan dialogue (familiar of Wednesday Addams) into a clean, soaring belt, her showstopping “Dead Mom” and “Home” are delivered with a genuine, beating heart, twice met by rapturous ovation.
There’s lots to love about this company, who dials up Timbers’ fun-centric direction with pure, choreographed craze. From the boisterous act one finale - kicked off by a cameo appearance from rich investor couple Maxie and Maxine Dean (Chasity Crisp and Irvine Iqbal); to cleverly executed illusions designed by Michael Weber and Jeremy Chernick (the orchestra pit being frequent victims of thrown objects); through Connor Gallagher’s exponentially camp choreography, featuring an oversized skeleton ensemble, multiple Beetlejuice(s) and fake cartwheels. Eddie Perfect’s catchy music and lyrics (orchestrations by Kris Kukul and lots of dance arrangements by David Dabbon), too, marry eclectic genres with contemporary musical theatre; a marriage that feels like a house party and a fever dream all at once.
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It’s all well and good for Scott Brown and Anthony King’s laugh-a-minute book to be filled with recurring audience participation gags, wild cameos from giant sandworms and a roasted baritone pig (designed by Michael Curry), and random in-jokes added with a 2026 London crowd in mind (Paddington and 67 both made the cut). Into the second act, numerous characters reach their epiphany: couples become bolder, Lydia finds her purpose, and we as an audience start to connect with the narrative - until the titular character abruptly jumps in with another meta-joke à la stand-up. This unfortunately happens one too many times throughout, in a build-up towards Beetlejuice’s messy marmalade departure - it makes little sense, but tickles a London audience nonetheless.
Does the show check all the boxes for ridiculously funny, visually eye-popping spectacle? Absolutely. But it takes certain familiarity with the franchise to follow the theatrical chaos and panto-esque humour that leaves newcomers to the Netherworld bewildered, a little dizzy but still laughing for the right reasons.
★ ★ ★ ☆ ☆
Beetlejuice The Musical is booking at Prince Edward Theatre until 17 April 2027. Book with LOVEtheatre, or visit the production website for more information.
Tickets and Accessibility
🎟️ Tickets were kindly gifted with expectation of an honest, unbiased review. Views expressed are of the writer’s and do not represent those of the promoters - read our editorial policy here.
Standard tickets are priced from £27.50, with £30 Weird Wednesday tickets released weekly on Wednesdays at noon - sign up to receive a booking link.
♾️ The production features flashing lights and strobe, smoke and haze and sudden loud noises. Specific sensory points are below (all timings subject to change):