“How was the show?”
It was about 6:30 AM the morning after opening night of Beetlejuice at TPAC in Nashville when my wife asked the most generic question that could be asked about a theatrical event. If you’re not in the mood to read all of the musings that I’ve so painstakingly included below, here’s my generic, yet sincere and thoughtful answer: “ENTERTAINING!”
Billing itself as a “show about death,” the musical eschews sappy sentimentality, delivering instead a nonstop barrage of ribald humor and comedic absurdity as it works to weave together a story that primarily involves a teenage goth, a recently deceased couple, and its satyric, satiric titular character.
Outlandish, outrageous, and ostentatious, Beetlejuice quickly becomes something of a guilty pleasure from the get-go, as the lecherous, vulgar, and grotesque main character obliterates the fourth wall and casts a spell over the audience as it laps up his charisma and charm. Whether from the Netherworld, Orion, or the depths of depravity, Beetlejuice commands (and absolutely deserves) attention every millisecond that he’s on the stage, with Justin Collette bringing a phenomenally ghoulish and gravelly performance in the role. Isabella Esler, meanwhile, is perfectly cast as Lydia, though her impressive and versatile voice would lend itself well to the majority of Broadway productions. Her rich voice is perhaps at its very best as soon as the curtain lifts to reveal a somber and simple scene that lets her vocals shine. Supporting roles are solid without stealing the show, while the technical components are some of the finest I’ve ever seen.
Every aspect of the show’s design is a veritable cornucopia of brilliance, especially when the juxtaposition between garish and goth, vibrant colors and morose monochrome, just add to the seemingly dichotomous life and death interplay. I won’t go so far as to call it sensorial overload, but when the production had to stop in order to correct electrical issues (which just so happened to follow a couple’s electrocution?!), it was impossible to discern whether it was a theatrical device included in the script or an actual stoppage. When it proved to be a true technical issue, it actually provided an unplanned, impromptu intermission that helped to catch my breath and embrace the overall tone.
Beetlejuice is entertaining and electric in both literal and figurative senses (Beetlejuice himself shows, shall we say, some shockingly AC/DC tendencies). If you’re looking for drama and melancholy or a reflective, perspicacious opus that’ll reorient your worldview, look elsewhere. But if an irreverent romp that bursts with vibratory colors and incorporates outstanding performances in the lead roles tickles your fancy, try begging for tickets from those who acted early and snatched them all up. (When I just checked on the website, there were TWO total tickets available across all performances. TWO!)
Despite growing up in the 80’s, I am one of the sequestered few who has still never seen the Beetlejuice film. I had to make the decision whether or not to view it in the run up to the musical’s opening night. I decided I’d rather go in blind. In this case, that might have been a mistake. The story seemed flimsy and confusing, but then again it IS grounded in a Tim Burton film (full disclosure: I’m wearing a Pee-wee Herman shirt as I type, perhaps seeking to atone or overcompensate by repping a quintessential Burton classic that’s, admittedly, neither Shakespeare nor Spielberg). Maybe the plot is made clearer or more believable in the film, but a show this entertaining, fun, and visually stupendous needn’t rely on a tight, compelling story when it creates such an unapologetically fun and entertaining jaunt.
Given the scant number of tickets remaining and the buzz leading up to its arrival, it’s no wonder Beetlejuice was one of the most highly anticipated shows of TPAC’s 23-24 season. After a few very heavy shows lately, Beetlejuice is a complete change of pace that goes not so much for the head or the heart, but for diaphragm-quivering laughs in a show that my Scottish friends could call “pure dead brilliant.”
Beetlejuice will be in Nashville until March 17 in TPAC’s Jackson Hall. Check for tickets and more information here.
Next up in TPAC’s Broadway season: Annie (March 27-30). Tickets and more info here. Take a look at the rest of TPAC’s 23-24 season here.
The Frenetic Peripatetic 