Now on stage at the Ed Mirvish Theatre, 244 Yonge Street, Toronto
“This touring BEETLEJUICE is exuberantly colourful and joyfully loud in enjoying life because it flies by quickly. Justin Collette’s spry, energetic protagonist is in fine vocal form. An awesome dancer, he handles the choreography with aplomb. Another welcome to the summer blockbuster of a musical. Parents, be advised some sexual and adult innuendos might not be the best for the young kiddos to hear.”
I’m one of the few who has never seen the 1988 film version. I just never had any interest in seeing it.
Ok, it’s time to see the film.
The ‘Beetlejuice’ prologue opens in a cemetery at the burial of Emily Deetz. Her daughter, Lydia (Emilia Tagliani at this performance), is having a tough time adjusting to this new life without her mother. Lydia’s father, Charles (Jesse Sharp), appears to ignore his daughter’s changes. Charles wants to get on with life and seems to be more than just interested in Delia (Sarah Litzinger), the ‘life coach’ whom he has hired to help Lydia. A bio-exorcist, Beetlejuice (Justin Collette), whose actual name is Betelgeuse (after the star), enters and begins poking fun at what happens at death. Beetlejuice periodically breaks the fourth wall and often speaks directly to the audience. We learn that he is invisible to all living humans unless a living person says his name three times.
He has an idea of how to do this.
He then introduces Adam and Barbara Maitland (Will Burton and Jesse Sharp), who want to start a family but are not emotionally ready. Instead, the Maitlands pay too much undue attention to their hobbies. As they continue reasoning why they shouldn’t have a child, Adam and Barbara suddenly die (I won’t tell you how). There is a book that all newly dead must read: ‘The Handbook for the Recently Dead.’ The Maitlands are about to read it, but Beetlejuice takes it away.
Instead, he will help the couple to adjust to the afterlife but wants the Maitlands to haunt the house that is soon to be purchased by the Deetzes. Beetlejuice wants someone in the Deetz family to say his name three times.
What follows is an often hilarious, dark, and sometimes very adult-in-nature story with sexual innuendo that may not be appropriate for many of the young children I saw in this opening-night audience.
This touring production to Toronto is pastel-perfect thanks to Lighting Designer Kenneth Posner’s selection of bright hues, colours, and tints. Scenic Designer David Korins and Projection Designer Peter Nigrini have created some extraordinary scenic designs moving from the graveyard to the Maitlands/Deetzes’ house in a matter of seconds. Michael Curry’s behemoth puppet design bursts onto the stage with fanfare. As in touring productions of mega-musicals involving magic, special effects and their designs, I applaud Jeremy Chernick and Michael Weber’s work for their quick tricks to the eye. The opening of the door to the Netherworld is fascinating. William Ivey Long’s costumes appear to be dutiful recreations of the snippets from the 1988 film I’ve watched. I’ve always liked the Beetlejuice costume because he resembles a prisoner. In this case, he’s a prisoner of the Netherworld (where everyone goes after death.)
The immediate creative team, comprising Director Alex Timbers, Choreographer Connor Gallagher, and Music Director/Conductor Andy Grobengieser, is to be credited for keeping the pacing clipped along. Their vision for the story is one of exuberant joyfulness for life as it passes by quickly.
Several choral ensemble numbers are memorable and worthy. Unfortunately, the programme does not list the musical numbers.
The opening scene in the graveyard at Emily Deetz’s funeral piques the audience’s curiosity as the funereal choral singing becomes hauntingly reminiscent of what transpires typically. The Banana Boat Song (Day-O) at the dinner party is riotous with Gallagher’s perfectly timed choreographed movements. A moment where Charles and Lydia enter the Netherworld and meet Miss Argentina is another showstopper. At the top of Act 2, when the Girl Scout (Haley Hannah at this performance) approaches the Deetz home and tries to sell cookies, it is another hilarious moment. It sparks a bevy of others who approach the house for a sundry of reasons, who are all frightened away by the ghosts within.
Justin Collette is a wonder as the spry, energetic, sharply tongued Beetlejuice. He’s in fine form vocally and physically to handle many of the dance breaks with skillful aplomb. Emilia Tagliani’s Lydia took a few minutes to gain momentum, but she eventually found her footing. Jesse Sharp’s Charles is believably uncaring as a father figure at the top of the show. His moment of reconciliation with Lydia works. Sarah Litzinger’s bubble-headed sexpot Delia is deliciously kooky. Megan McGinnis and Will Burton are genuine in their likeability as the Maitlands who try to exert control back from the craziness of the Netherworld.
The cast and creative team have written the following in the programme:
“We want to thank Tim Burton for his imagination, which has inspired us all throughout our many years working on this show and grateful…for this extraordinary world of creation.”
Sometimes, audiences want that opportunity to see imagination and creativity in action.
For that reason, this touring ‘Beetlejuice’ works.
Running time: approximately two hours and 35 minutes with one interval/intermission.
The production runs until July 19 at the Ed Mirvish Theatre, 244 Victoria Street, Toronto. For tickets, Mirvish.com or call 1-8700-461-3333.
BEETLEJUICE, the musical
Music and Lyrics by Eddie Perfect
Book by Scott Brown and Anthony King
Based on the Geffen Company picture with a story by Michael McDowell and Larry Wilson.
Directed by Alex Timbers
Choreographer: Connor Gallagher
Music Director/Conductor: Andy Grobengieser
