Dead Set on Delight: Beetlejuice The Musical Breathes New Life Into a Skeptic
I’ll admit: I was never caught up in the Tim Burton–Helter‑Skelter of the original Beetlejuice film. The chaotic tone, cartoonish gore, and campy oddities never quite clicked with me. So I approached the touring Beetlejuice The Musical with a fair degree of skepticism. But over the course of two hours and change, this vividly reimagined stage show subverted all my preconceptions—and left me genuinely impressed.
[Warning: Spoilers from the North American touring production of Beetlejuice the Musical are below!]
Visual spectacle with purpose in Beetlejuice the Musical
From the first spine‑tingling moment of “Invisible,” director Alex Timbers deploys a visual vocabulary that feels cohesive, witty, and alive. David Korins’ set design and William Ivey Long’s costumes transform what could have been a garish parody into an immersive gothic playground—one that winks at Burton without stealing his identity. Lighting by Kenneth Posner—especially those signature green and purple washes—lends the Netherworld texture and mood; and projection work by Peter Nigrini adds layer after layer of spooky delight. The puppetry, illusions, and special effects (thanks to Michael Curry, Jeremy Chernick, and Michael Weber) feel theatrical and elegant rather than gimmicky.
This is not a carnival ride with mismatched parts—it’s a carefully calibrated experience, sensory-rich but never indulgent—or at least never too indulgent for someone who came in cautious. If you’re movie-adverse, this production crafts its own emotional architecture rather than recycling cinematic beats.
Lydia Deetz & Mr. Geuse are ready for their close-ups
What convinced me most was Madison Mosley as Lydia. She officially took over the role in October 2024 and is already owning the character like they’ve been together forever. Her performance is the emotional spine of the piece. The moment she sings “Dead Mom,” her vocal power blends strength, humor, and vulnerability in a perfect pitch. Mosley’s voice is crisp, expressive, and fearless: she navigates the highs of angst and longing with maturity, without ever tipping into overwrought. In the quieter solo “Home,” she reinvents grief into resolve—quiet but devastating. If you don’t come for Lydia, you won’t remember much else. But once she steps up, you feel the show’s heartbeat.
Marc Ginsburg, typically the swing and Beetlejuice understudy on tour, earns his spotlight; he emerges as more than just a fill-in. When he takes center stage, Ginsburg captures the manic energy that the role demands—he darts across the stage, he delivers raunchy one‑liners, and he bends audience reactions to his will. His vocals have surprising versatility; he handles “That Beautiful Sound” with athletic flair and comedic timing. There’s a reason that Beetlejuice’s name is on the Marquee, as this role takes center stage, requiring a comedically powerful performance from a strong actor such as Ginsburg.
All the world’s a stage, and Delia’s a stand-out performance
My standout for this production would have to be Lexie Dorsett Sharp, who swings into (and often owns) the role of Delia, a crowd favorite for all the right reasons. Sharp’s Delia is a comedic genius masquerading as a life coach in too‑tight clothes. Her “No Reason” is played with self‑aware absurdity, and she has the kind of timing that turns a glance or line into an instant “inside joke” with the audience. Previous reviewers have even likened her Delia to Jennifer Coolidge‑level screwball brilliance, and I while I can see that to a degree overall I was getting Melissa Peterman vibes- think “Barbara Jean” from Reba. Sharp is gleefully over‑the‑top, but grounds her comedy in precision.
Ensemble, score, and themes that surprise
The ensemble whistles through high‑octane numbers like “Fright of Their Lives,” “Say My Name,” and “Creepy Old Guy,” maintaining an almost choreographed chaos. Their energy is off the charts—even when lighting strobes might overwhelm some viewers, the overall pull is dynamic rather than disorienting.
Eddie Perfect’s score and lyrics bring razor‑sharp wit to the stage. The inclusion of staple hits like “Day‑O” adds nostalgic flavor—but the show never leans on songs to do emotional heavy lifting. It crafts its own tone: audacious, profane, and unexpectedly introspective. The themes of grief, familial disconnection, and knowing when to let go are threaded beneath the humor in ways that still surprised me.
My verdict on Beetlejuice the Musical is…
Like most tours in a new venue, my only true notes to this production would be to turn up some character mics. There were certainly moments where the orchestra was overpowering the actors on stage, particularly in the ballads. Though in my opinion, this is just the nature of the beast with opening nights of touring productions; it’s incredibly hard to know how things will sound until you have a theater filled with people and the curtain is up.
All that to say- I went in wary of camp, wary of gore, and wary of fan‑service. What I left feeling was entertained, moved, and astonished at how fully realized this show is. If you’ve never loved the movie, this might be even better for you—because it breaks free from cinematic expectations. It’s its own creature: bold, theatrical, and emotionally smarter than it looks. For the skeptic who loves theatercraft over fandom, Beetlejuice the Musical might just change what you thought you wanted.
Beetlejuice the Musical is at the Fisher Theatre now through August 10th, so get your tickets now from Broadway in Detroit! Look out as the musical makes its way to a city near you soon! Have you seen Beetlejuice the Musical before? Let us know your thoughts @BoxSeatBabes on all social media platforms!
Exclusive Interview: Matt Kurzyniec of Beetlejuice The Musical
