The Whole Being Dead Thing

Beetlejuice

Back in 1988, a new movie hit the silver screen. One of the earliest films directed by the inimitable Tim Burton, “Beetlejuice” was a huge popular success. Much like his many other gothic horror/fantasy films that would follow, including “Edward Scissorhands,” a creepy remake of  “Charlie and the Chocolate Factory,” “Sleepy Hollow,” “Batman” and “Batman Returns,” “Alice in Wonderland,” “Sweeney Todd” and the animated classics “The Nightmare Before Christmas” and “Corpse Bride,” Tim Burton’s work is recognizable by its artistic style. Dark, eerie, often filled with supernatural situations and characters, and peppered with his recognizable black-and-white stripes, the stories are usually tangled and tortuous. “Beetlejuice” was Tim Burton’s first foray into the world of the occult.

Thirty-five years later, it was rumored that a theatrical musical version of the Tim Burton classic was in the works. Fans of the movie become ecstatic about the prospect of seeing one of their favorite films come to life. The dark musical comedy, loosely based upon the popular, cult classic cinema, would feature a book cowritten by Scott Brown and Anthony King, with music and lyrics by Eddie Perfect. 

The musical, once again, melds two story lines together. In the first, Adam and Barbara Maitland, a young, recently deceased couple, are now ghosts. They’re trying to scare the new inhabitants away from their beloved home. After he reveals himself to the married couple, Beetlejuice, a loud, powerfully magic and raunchy demon, tries to help them adjust to “The Whole Being Dead Thing,” or the Afterlife. He also shares that if they say his name three times, Beetlejuice will become visible to the living, as well.  

The second storyline concerns the Deetz family who’ve moved into Maitland’s house. Young Lydia Deetz is deeply depressed after loosing her mother. She feels that Charles, her enterprising father, has already forgotten his dead wife, and seems to only be interested in his new real estate venture. Charles plans to turn the Maitland house into the flagship model of a new, exclusive gated community.

Strangely, while Adam and Barbara are invisible to Charles and his ditzy Life Coach lady friend, Delia, Lydia can see and converse with the ghosts. She can also see Beetlejuice. Together they concoct a plan to scare away Lydia’s father, Delia and a host of potential investors who are about to enjoy a dinner party at the house. With Beetlejuice’s help, the scheme appears to work; but then, instead of being frightened, Charles and his investors see the haunted house as a selling point. Beetlejuice becomes frustrated and forces the Mailands to the attic and throws Charles and his friends out of the house.

But that’s just the beginning of this intricate, detailed and overstuffed story, which is part of the problem with the musical. It tries to present too much. It crams so many characters and plot twists into one story, it’s difficult to follow. Eventually the audience should forget logic and give up trying to follow the what and why. My advice is to just sit back, forget keeping track of the twists and turns and simply allow the topsy-turvy plot to  rush by. Just enjoy the ride. 

The musical is directed by Alex Timbers, who, if you’ve ever seen his work, is never subtle. It’s always excessive. Timbers seems to believe that if a little bit of something is good, a whole lot will be magnificent. He also directed the wildly inventive “Bloody, Bloody Andrew Jackson,” “Peter and the Starcatcher” and the jaw-dropping theatrical adaptation of “Moulin Rouge!” But this musical is not only confusing, it’s a sensory overload. It’s like being plunged inside a flashy and florid, confusing and cacophonous carnival. The bright lights and loud music constantly assault the senses, and not always in a good way. Anyone prone to seizures might want to pass on this show. However, if a short attention span challenges the theatergoer, rest assured. All the playful spookiness, bawdy gags and spectacular songs and dances don’t last long before the musical changes direction.

Mr. Timbers is assisted by an army of brilliant artistic allies. They include talented choreographer Conor Gallagher; gifted musical director and orchestra conductor, Andy Grobengieser; and musical supervisor supreme,Kris Kukul. Although I know some elements of David Korins’ spectacular scenic design were trimmed back for the National Tour, there’s still plenty to dazzle the eye. Enhanced by Peter Nigrini’s excellent projection design, Kenneth Posner’s eye-popping lighting, all the magic and illusions designed by Michael Weber, puppet design by Michael Curry and special effects created by Jeremy Chernick startle and delight. The gifted and talented William Ivey Long has designed costumes that take your breath away, aided by Joe Delude II’s makeups and wig and hair design by Charles G. LaPointe.

The National Touring cast is certainly talented, from the hardworking ensemble to the leading players. Justin Collette makes Beetlejuice his own. That gravelly voice and quirky characterization is precisely how he was played on Broadway by Alex Brightman. Isabella Esler is a real find, making her spectacular professional debut as Lydia. I’m convinced that this young woman has the charisma and vocal skills that will propel her to stardom. Both Megan McGinnis and Will Burton are terrific as Barbara and Adam Maitland. Both performers are true triple-threats, with Mr. Burton demonstrating some topnotch comic timing and physical humor. Jesse Sharp, who’s portrayed his share of other fathers regionally and in Tours is very good as Charles Deetz.  And as Delia, Kate Marilley, who possesses a magical singing voice, is appropriately dippy and daffy. 

This production, which appeared to be a sellout at the opening night performance, was wildly and enthusiastically received. Younger theatergoers especially will adore the show, although there’s a lot of profanity and adult humor. It’s best not to bring the children to this musical. Many of the theatergoers opening night arrived dressed in costume and makeup that mimicked the movie characters. The musical is actually quite fun, especially if you’re a fan of the Tim Burton film. And if loud music, blinding lights and an unruly plot don’t bother you, “The Whole Being Dead Thing” will delight.                 

Recommended

Reviewed by Colin Douglas

Presented November 7-19 by Broadway in Chicago at the Auditorium Theatre, 50 E. Ida B. Wells Drive, Chicago (and returning for an additional week, from May 21-26, at the Nederlander Theatre, 24 W. Randolph St., Chicago).

Tickets are available in person at the Auditorium Theatre box office, by going to any Broadway in Chicago venue box office, or by visiting www.BroadwayinChicago.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com.