Don’t miss this whirlwind of a show: high energy and unforgettable
It is rare for a new musical to arrive in the West End and feel so instantly deserving of its place on one of the capital’s biggest stages. Beetlejuice is exactly that kind of show. Bold, chaotic and bursting with personality, this long-awaited transfer to the Prince Edward Theatre captures everything audiences love about Tim Burton’s cult classic while giving it fresh life of its own.
Even for anyone not deeply immersed in the Beetlejuice phenomenon, the production proves hugely welcoming. The humour is sharp, self-aware and relentless, with every joke landing confidently whether aimed at devoted fans or complete newcomers. Clever tweaks for London audiences work brilliantly, particularly the moments where the show gleefully breaks the fourth wall. Seeing Beetlejuice casually rip apart Paddington Bear mythology was unexpected, but somehow it fits perfectly within the show’s anarchic spirit.
Visually, the production is a triumph. David Korins’ set design moves with astonishing fluidity, transforming seamlessly from attic to rooftop to Netherworld with barely a pause for breath. Audible gasps ripple through the audience with each major reveal, a reminder of how magical large-scale stagecraft can still feel when executed this well. The illusions and special effects are equally impressive, often happening so quickly and cleanly that it takes a moment to process exactly what has just happened. Combined with slick costume work and lightning-fast quick changes, the result is a production constantly alive with movement and surprise.
The cast fully rises to the scale of the material. David Fynn dominates the stage as Beetlejuice with a performance that is sardonic, mischievous and endlessly charismatic. His quick wit keeps the audience hooked throughout, flirting shamelessly with both the crowd and his fellow characters while driving the narrative forward with effortless energy. It is a star performance that never slips into imitation, instead bringing something fresh and distinctly playful to the role.
Alongside him, Hannah Nordberg delivers an undeniably powerful Lydia Deetz. The character herself can feel emotionally distant at first, but Nordberg’s vocal ability and commitment steadily pull the audience in. Meanwhile, David Hunter and Chelsea Halfpenny are excellent as Adam and Barbara Maitland, growing into their performances as the characters themselves gain confidence. By the interval, the pair have become genuine scene stealers in their own right.
Musically, Beetlejuice moves at full speed from start to finish. Eddie Perfect’s score is witty, energetic and deeply tied to the storytelling, even if it lacks that one instantly unforgettable anthem audiences will be humming for weeks afterwards. Instead, the songs work as part of the show’s whirlwind momentum, carrying the comedy and emotion forward without slowing the pace.
More than anything, Beetlejuice feels exciting. It embraces theatrical spectacle without losing its sense of humour or heart, creating an evening that feels both gloriously over-the-top and surprisingly sincere. The West End has welcomed a whirlwind of a show: high energy, unforgettable and absolutely not to be missed.
This show runs at Prince Edward Theatre until 17th April 2027. Tickets here.