Beetlejuice

(seen at the afternoon performance on 30th May 2026)

A cult film when the monkey was a teenager, so naturally it missed it. No good reason, just did. So, it went in not knowing a thing about the show.

It pretty much came out feeling the same.

This is a very typical Broadway McMusical of the 2010s. Satisfying while watching, can’t remember a thing about it after. You know it is enjoyable enough, you laughed, were invested in the characters and patted yourself on the back for being smart enough to get all the “back references.”

But where are the tunes you come out humming – not “The Banana Boat Song” that you knew going in, but the big emotional numbers that stick in your head (Rogers & Hammerstein, Lerner & Lowe, Jerry Herman et al)?

More to the point, the storyline is left on a high as the curtain falls on act one. A smooth flowing if rather drawn-out setting of scene which speeds at a smart pace about 30 minutes in.

Only thing it really fails to explain is the difference repeating “Beetlejuice” really makes. A girl can already see him, so why did she need to say it – didn’t seem to free him up any further after she did.

The second half continues the confusions, almost belonging to another show. No doubt those familiar with the film will appreciate the jump-cuts, but the monkey was baffled by the downbeat curtain-raiser (loving badge ‘troupe 666,’ though), sudden “game show” and the fact that many rules set up for what ghosts can and cannot do are summarily broken.

Sure, Beetlejuice is an anarchist, but he is not drawn sharply enough to explain this, or the constant violations of the show’s internal logic to keep driving the story.

On the plus side, Tom Xander is amusing (though sometimes in need of more Velcro on his trouser leg) as the title character. Never gross, and with some timing, he carries the show.

Chelsea Halfpenny and David Hunter ham it up as the deceased Barbara and Adam Maitland. Both are expert musical theatre performers, technique sharp and more than a match for Xander’s speed.

Hanna Nordberg is a forlorn Lydia, making the most of her solo numbers. Sad rather than bratty, spiky rather than obnoxious, in tune with her situation vocally if not always making the most of her comedy and dramatic acting moments.

Aimie Atkinson never underplays Delia, the cuckoo in the nest, an audible “aw” from the audience confirming that she lands with us.

An ensemble called on to adopt some difficult outfits and still perform in them deserve a mention, and the energy from them is high throughout.

It fits well onto the large stage, probably deserves a longer run than the 11 months it will have; it does seem clear that the show is staged with one eye to touring. The David Korins set is more than adequate but requires many flow-disruptive “front curtain” scenes while being changed.

Kenneth Posner excels with the range of spooked and mortal lighting, blending two motifs in a way that the audience feel rather than notice, as the best lighting plots should be.

With Jeremy Chernick and Michael Curry on Special Effects and Puppet Design respectively, the show is good for a few scares and nifty appearing / vanishing moments.

The sound balance appears and disappears a few lines too, but Peter Hylenski does well to keep the volume ratio of pit to singers mostly in the audible range.

So, a well-loved classic movie given the best it can be, and we get to see a Broadway show that survived premature closures not one, but three times.

It beats “Paddington The Musical” (which it gets some really neat digs in at) anyway, on the monkey scorecard, but that is a personal view, it knows.

Certainly a good choice for teen families and cult followers. Forget the bugs in the plot and have fun, there is certainly some juice in this beetle.

Not bad, but it didn't blow me away either. Someone else had already mentioned to me the weaknesses, e.g., that Lydia doesn't really come across as very gothic, but rather like a teenager dressed in a little black lace dress to appeal to as many teens as possible. And the Department for the "Afterlife" is completely missing, too.

I found the malicious remarks towards Paddington quite funny, but that was pretty much it. I liked the first act much better, and especially after the interval, I was completely disappointed.

What did blow me away, however, was the pre-show music.

Ingo.

The monkey advises checking performance times on your tickets and that performances are happening as scheduled, before travelling.

Notes:
Extra 3pm performance on 28th October 2026.

Venue Box Office & Current Prices

Ticketpipe

• Beetlejuice - HEY, LONDON. IT’S SHOW TIME! OPENING DOORS AT THE PRINCE EDWARD THEATRE - MAY 2026
• Beetlejuice Theatrebreak -

LoveTheatre.com

Lovetheatre.com. Charge around 10% booking fee per ticket. They are owned by Ambassador Theatre Group (ATG) and often have good deals on shows at ATG venues.

See Tickets

See Tickets. Charge around 10% booking fee per ticket, plus £2.75 per booking (not per ticket) postal charge. They are owned by ticketing group Eventim.

Ticketmaster

Ticketmaster.co.uk. Charge around 8% to 10% booking fee per ticket. Handling fees may also be added. This is the largest ticketing agency worldwide.

TodayTix

TodayTix. Charge between 10% and 20% booking fee per ticket. Discounts are often available as this is a large global ticketing company with this specific aim.

London Theatre Direct

Londontheatredirect.com. Charge between 10% and 25% booking fee per ticket. Discounts are frequently available. Part of Trafalgar Theatre Group, known for customer service and unique offers.

No policy.