Review: Beetlejuice

Beetlejuice, Beetlejuice, Bee… nope. Not saying it. 

Cast of Beetlejuice

Back on Broadway in its third reincarnation, audiences are no strangers to Beetlejuice. Based on the iconic cult-classic Tim Burton movie, the musical originally opened at the Winter Garden Theatre in 2019, then again at the Marquis after the COVID shutdown. It closed in early 2023, seemingly ending its rocky four years in New York before setting out on tour. Despite its large and enthusiastic fanbase—enlarged by its social media presence—it has never seen that enthusiasm reflected in its grosses, seeming to always struggle at the box office. Now, this extended Broadway stop on its national tour seems to be one last effort by the producers to finally capture both the audience members and, hopefully, some New York revenue. 

Now playing at the Palace Theatre, the show’s strategically timed limited run through the holiday season seems to be capturing the crowds flocking to the city, as I noticed relatively few empty seats. They also ran the risk of not having any established names in the cast; however, potentially to combat this, they brought in internet celebrity Trisha Paytas for a limited run in a walk-on role—a huge success at the box office due to the draw of her fans. During her three weeks with the show, grosses jumped significantly, entering the million-dollar range and giving the show a much-needed boost.

Justin Collette

Other than Paytas during her limited engagement, this is mostly the same cast as the one that’s been touring, and now having seen them, I can say that audiences across North America have had a real treat. In the titular role, Justin Collette is a charming and demonic performer, giving a masterclass in physical comedy. He holds the audience in the palm of his hand, leading us through the story with slightly morbid jokes and cheesy one-liners. He does his own version of the classic rasp, though I do wonder if it has taken a toll on his voice, as there were a few moments where he simply didn’t have enough behind him to fully project his lines and lyrics.

Opposite Collette, Emilia Tagliani was covering Lydia, and she was brilliant. The angst in her voice brought out the rough side Lydia needs, and she did it with incredibly impressive vocal control. It was refreshing to see such a young actress in the role, close to Lydia’s actual age, because it allowed Tagliani to bring a realness to the role that gave Lydia’s character a more believable arc. These two led the cast fantastically, supported by many more fabulous performers. 

Lexie Dorsett Sharp and Will Burton

As the quirky “normal” couple, Will Burton and Lexie Dorsett Sharp—who was covering Barbara at this performance—were fantastic as Adam and Barbara Maitland. Will’s nervous, awkward take on Adam, paired with Lexie’s blend of Barbara’s initial jitteriness and her growing empathy for Lydia, instantly endeared them to the audience. Their chemistry made the Maitlands’ arc feel especially authentic, culminating in my favorite number of the show, “Barbara 2.0.” They brought such a natural warmth to the stage that every scene with them felt grounded and sincere. Their choices also added a surprising emotional depth that heightened the impact of their transformation throughout the show. 

Jesse Sharp’s well-honed portrayal of the emotionally repressed Charles Deetz, father of Lydia, also allowed for a well-earned redemption in the eyes of Lydia and the audience. Coupled with a never-ending series of jokes, his performance was fantastic. On the other hand, Jessi Barber—joining the cast for the Broadway run as the eccentric life coach Delia—unfortunately had a harder time landing her comedic moments. Knowing the show, I felt that some jokes, especially during the “No Reason” scene, landed a little flat or simply weren’t delivered in the right way. However, when she did land the comedy, it hit, and sent the crowd into fits of laughter, especially delighting a school group in the mezzanine with a “six-seven” gag.

Sophie Aknin, Sharone Sayegh, Vanessa Aurora Sierra, Marc Ginsburg, and Travis Mitchell

However, the standout performance has to go to Vanessa Aurora Sierra as Miss Argentina. Her rendition of “What I Know Now” (my second favorite song) was the definition of perfection. Not only is she a brilliantly talented dancer, but her vocals were impeccable, especially for such a difficult song. It truly was a showstopping number, and a star-making moment. 

The ensemble of this show might be one of the most versatile in the city. Constantly swapping in and out of smaller roles while still performing the intense dance numbers, especially the Act Two opener “That Beautiful Sound,” their enthusiasm for the show is evident. They all execute Connor Gallagher’s energetic and fast-paced choreography, never seeming to break a sweat. Three members of the ensemble, Eric Anthony Johnson, Mateo Melendez, and dance captain Ryan Breslin, have been with Beetlejuice since its first Broadway run, rounding out their time with this show both in New York and on tour!

Australian composer Eddie Perfect’s score drives this show. With its incredible variance of styles including contemporary pop, classic musical theatre, and punchy rock ballads, Perfect’s score… well, perfectly combines them all into one cohesive progression. The book, penned by Scott Brown and Anthony King, is filled with groan-inducing jokes, gags, and witty one-liners, always managing to keep the audience laughing. It also allows the performers to have fun onstage and keep the show fresh by adding their own ad-libs if the moment warranted it. However, what both the book and score do so well is allow the show to sit in a more emotional state for a little while without seeming forced or undeserved. The Netherworld sequence is truly one of the best sections of writing due to this fact, something that not all shows can execute well, but where this show excels. 

Emilia Tagliani

Helmed by the brilliant Alex Timbers, this show is a feast for the eyes. David Korins’ massive set, even stripped back for the tour, is still a marvel. All the different components are so well thought out and riddled with tricks and hidden features that they elicit gasps from the audience as a piece of paper suddenly ignites on fire and disappears, or a third leg appears from Beetlejuice’s waist. Playing at the enormous Palace, the set may seem slightly smaller from the far back, but it did not detract from anything for me. Kenneth Posner’s lighting is also a great technical accomplishment, with its creative use of motifs and colors throughout the show. An extra shoutout must be given to Peter Nigrini’s projection design, especially when we get to see it “repaint” the walls of the house at the end of Act One. The precision of his design is very impressive, and it's no wonder that Nigrini has worked on so many shows in the past decade as projections become more popular.

Beetlejuice might be a wacky show, but it certainly brings forward a message of living life to the fullest, because you never know which day might be your last. Through these characters, we see all that life has to offer: the highs and the lows, but it’s all part of the human experience. Despite its flaws, Beetlejuice at the Palace is a joyous, chaotic delight not to be missed.

3.5/5 stars

2 hours and 30 minutes, one intermission

Palace Theatre

Through January 3, 2026