‘Beetlejuice’ Nat’l Tour @ Bass Performance Hall

Courtesy of Performing Arts Fort Worth

—Rickey Wax

Step into the underworld, if you dare—Beetlejuice at Bass Performance Hall invites audiences into “A show about death” where the bizarre meets the hilarious, and the dead have just as much fun as the living.

With ghastly green lights casting shadows across the stage, eerie special effects that evoke a ghostly magic show, and a cast that revels in the macabre, this touring production (presented by Performing Arts Fort Worth and directed by Alex Timbers) is a perfect Halloween haunt. Prepare to laugh, gasp, and maybe even cover your eyes as Justin Collette’s Beetlejuice breaks the fourth wall—and perhaps a few earthly rules—alongside his spirited partner in crime, Madison Mosley’s Lydia. Welcome to the weird and wonderful chaos of Beetlejuice!   

As the curtain rises, a sea of black umbrellas fills the stage, setting a somber, rainy-day mood for the opening funeral scene. In a flash, we get a darkly comic, fast-paced introduction led by Justin Collette as Beetlejuice, who immediately brings the audience into his world with his irreverent charisma.

Collette’s take on Beetlejuice is a masterful balance of comedic timing and twisted charm as he seamlessly weaves through multiple accents while introducing the show—channeling Beetlejuice’s chaotic energy and setting a manic and unpredictable tone. His frequent asides to the audience make him feel like a mischievous guide, blurring the line between character and commentator, a move that immediately engages the audience. The lighting (Kenneth Posner) in this scene is eerie, with green and purple hues that set the Halloween-appropriate, spooky ambiance. Beetlejuice, who thrives on chaos, needs someone to say his name three times to gain more power and become visible to the living.

Meanwhile, Barbara and Adam Maitland, a recently deceased, adorably naive married couple, come to terms with the fact that they’ve died in their home. As they adjust to the afterlife, they realize they are now ghosts unable to leave the house.  Megan McGinnis as Barbara and Ryan Breslin as Adam deliver quirky, charming performances as the dearly departed couple. Their chemistry shines, especially in “Ready, Set, Not Yet,” where they grapple with the reality of their new ghostly existence. (Music & lyrics are by Eddie Perfect, and the book, adapted from the movie, is by Scott Brown and Anthony King.)

A young family has moved into the home previously owned by the Maitlands. Here we meet Lydia, who is frustrated with her father Charles, a widower eager to move on and start fresh with his new girlfriend Delia (unbeknownst to Lydia). Lydia, however, is not ready to move on and feels increasingly isolated in her grief, which her Dad and Delia dismiss or fail to understand. Madison Mosley as Lydia captures the essence of the character with a mature, haunting voice, especially in her solo numbers. Her performance of “Dead Mom” is poignant, underscoring Lydia’s pain and loneliness. Beetlejuice seizes this opportunity, hoping to use the Maitlands to scare Charles and Delia, who have moved in as well.

Then Lydia discovers Beetlejuice in her house. Initially startled, she quickly becomes intrigued by his promise to help her connect with her deceased mother. Instead, Lydia opts to use the Maitlands to assist with her plan to scare off her father. Determined to make the haunting work, the Maitlands possess Dad, Delila, and the dinner guests, forcing them to perform an outrageous version of “Day-O (The Banana Boat Song)” in a highly memorable scene. Jesse Sharp as Charles and Sarah Litzsinger as Delia add a dose of satire to the show. Charles, a frustrated yet hopeful father, contrasts nicely with Litzsinger’s eccentric Delia, whose exaggerated enunciation is (literally) laughable. This scene is a visual feast, with bright, strobe-like lighting and clever choreography (Connor Gallagher) that accentuate the surreal, almost cartoonish quality of the moment.

However, rather than scaring them, the possessed performance amuses the guests at the dinner party, including Charles’ boss—and sparks Charles’s ambition to turn the haunted house into a paranormal tourist attraction (mission not accomplished). Disillusioned by her father’s obsession with fame and wealth, Lydia turns to Beetlejuice for help. She agrees to partner with him, although she’s unaware of his ultimate intentions—after all, he is a demon from the underworld. In her desperation to bring back a sense of normalcy, she yells “Beetlejuice!” three times. This pivotal moment sets off a whirlwind of supernatural events that spiral further out of control as Beetlejuice’s true intentions become ever more clear.

Beetlejuice felt like a blend of Broadway musical and Halloween magic show, offering just the right amount of eerie fun and show-biz spectacle. And in moments of haunting beauty, Beetlejuice also reminds us that life—and even death—are interwoven with experiences of joy, sorrow, and the power of human bonds. Perhaps the true magic lies in our ability to embrace both the shadows and the light.

WHEN: October 29- November 3, 2024
WHERE: 525 Commerce Street, Fort Worth
WEB: www.basshall.com