Beetlejuice the musical (Prince edward theATRE, LONDON)-  ★★★☆☆

As someone who has followed the Beetlejuice musical since its initial broadway run, I was particularly excited to attend a performance of its first West End run on the 15th of July, 2026. Currently playing a strictly limited run at the Prince Edward Theatre, this production is a direct replica of the US tour. 

Over the past seven years, we have seen various professional productions of Beetlejuice internationally and multiple Broadway runs. During this time, there have been several notable actors to take on the role of Beetlejuice and construct the their own version of ‘the ghost with the most’.

Based on the 1988 cult classic of the same name, the musical brings the narrative into modern day while keeping the same style and tone the original film is notorious for. As well as this, various changes to the source material are made to allow the story and characters to fit within a theatrical setting. Unlike the motion picture, the musical places Lydia as the central protagonist within the plot. With the reason for this being to add emotional depth and a purpose to the character sand overall narrative. The musical follows a similar structure with the death of the Maitlands (although in a different fashion) and then their attempts to take back their house.

For me, Beetlejuice the Musical featured two stand out performers, Hannah Nordberg as Lydia Deetz and Aimee Atkinson as Delia. Throughout, Nordberg provided breathtaking vocals specifically with her opt up in ‘Dead Mom’ as well as her overall performance in ‘Home’. Coupled with her loveable personality, Nordberg created a ‘Ryder esc’ Lydia with a fresh outlook that felt raw and authentic. Atkinson combined comedy with her captivating voice in ‘No Reason’ and it was a treat to watch her as it was clear she was having fun and connected to Delia.

Also in the cast, were David Hunter and Chelsea Halfpenny as Adam and Barbara Maitland. The two provided chemistry which aided in their stereotypical ‘white, middle class, boring couple’, similar to that of Brad and Janet in Rocky horror. During the musical, there was a gradual development into strong and independent individuals especially with Halfpenny’s ‘Barbra 2.0’.

David Fynn took on the complex title character Beetlejuice which he grew into over the course of the night. During his opening number ‘The Whole Being Dead Thing’, I struggled to embrace his portrayal of the character due to the impact Alex Brightman’s version has left on me. With such a distinct version of Michael Keeton’s iconic  character, it was slightly jarring to hear another person singing these numbers. Personally, I found Fynn to down play the character’s grotesque, sleazy and obnoxious personality but Fynn found his footing and comedy beats later. In particular, ‘Do You Hear That Sound’ and ‘Creepy Old Guy’ played to Fynn’s strengths as he is a confident actor able to achieve various contrasting caricatures and impressions.

The production’s ensemble was used effectively to portray various characters and the personalities of Beetlejuice. I was impressed with the choreography during numbers ‘Do you hear that sound’ and ‘what I know now’ as they created classic broadway moments which we see less and less in contemporary theatre. Harmonies sounded beautiful throughout and the featured roles such as the Girl Scout, Miss Argentina and Juno were performed well and aligned with the show’s irreverent tone.

Like with many sets designed by David Korins, Beetlejuice provided a highly detailed, Tim Button style set. This immersive transported us as an audience into the Netherworld through an endless abyss. As soon as we we entered the auditorium we were greeted with a loud, whimsical score and an ambient lighting design made up of greens and purples which danced around the theatre. However, I was disappointed with the decision to utilise the US national tour set as this removed aspects of the original scenic design and trap door. With a venue like the Prince Edward, I expect large expansive set pieces which make use out of the width and depth of the stage but this did not seem to be the case particularly the scenes within various rooms of the Maitland’s house. 

Another element I enjoyed, was Peter Negrini’s use of projection during transitions and other moments such as the exorcism and opening of portals. I often find projection to take away from the various other design aspects of a production but Beetlejuice successfully avoided this by not relying on the videos alone.

My biggest issue with the West End production was the (in my opinion) forced British jokes on topics such as the NHS and the Labour Government. As an avid fan of the musical Avenue Q, my dislike of this creative decision did not arise from the dry humour but rather its lack of relevance within the wider show. For example the opening number includes the lyric ‘there’s nothing medical professionals could do except maybe just bill you’ so including a reference to the NHS is extremely abrupt and in my opinion unnecessary. I was amused by certain additions surrounding American media and news as well as some jokes about Paddington.

Beetlejuice provides a fun, visual and engaging performance throughout but struggles to stand out amongst the variety of shows currently playing around the UK. While it has its flaws and imperfections it is definitely a feel good show with heart and filled with incredible performances. It guarantees a fun and entertaining escape for two and a half hours.