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Beetlejuice (Theatre)

627 statements
121 feature instances
45 referencing feature instances

Beetlejuice (Theatre)	type	TVTItem
Beetlejuice (Theatre)	label	Beetlejuice (Theatre)
Beetlejuice (Theatre)	page	Beetlejuice
Beetlejuice (Theatre)	comment	The Musical adaptation of Tim Burton's Beetlejuice, which started its run in Washington D.C. in 2018 and officially opened on Broadway on April 25, 2019. The book was written by Scott Brown and Anthony King, and the songs provided by Australian comedian Eddie Perfect.After perishing in a gruesome accident, loving couple Barbara and Adam Maitland return to their home as ghosts and find that it's now under the ownership of the recently widowed Charles Deetz, his Goth teenage daughter Lydia (who's still having a difficult time coping with the loss of her mother), and Delia, Lydia's inept life coach who's secretly in a relationship with the girl's father (a notable change from the film, in which she was simply her stepmother). Desperate to scare the family out of their beloved house, the Maitlands end up enlisting the help of the perverted and loudmouthed ghoul Betelguese, who eventually strikes up a wicked plan involving Lydia...The musical alters and rearranges many aspects of the original story, but stays true to the zany, gothic visuals and absurd Black Comedy of Burton's classic. It was nominated for eight Tony Awards for the 2018-2019 season, including Best Musical; it didn't win any. Thanks to a huge fanbase, the show seemed to be getting a comeback during 2019-2020 Broadway season and was to run through June 6, 2020 to make way for the Hugh Jackman-led revival of The Music Man, which would take its place that fall and was contractually obligated to be staged in the Winter Garden Theatre.Unfortunately, due to the Broadway shutdown from the COVID-19 Pandemic, the show missed their closing date; the shutdown began mid-March 2020 and ended in the fall of 2021. Producers had begun looking for a new venue for the show, as well as scheduling a national tour for 2021 or developing a proshoot, but no plans were set in stone, leaving the show's run on Broadway - rather appropriately, given the text - in limbo.However, in September 2021, as Broadway shows began to reopen, it was revealed that Beetlejuice would return to Broadway in April 2022, moving to a new location. The show reopened on April 8, 2022 at the Marquis Theatre, and ran for nine months before officially closing on January 8, 2023.
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Beetlejuice (Theatre) / int_113480b7	type	Canon Foreigner
Beetlejuice (Theatre) / int_113480b7	comment	Canon Foreigner: Skye the Girl Scout, who gets her own song at the top of Act 2 and ends up being BJ and Lydia's first scare victim.
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Beetlejuice (Theatre) / int_117c6f30	type	Old Man Marrying a Child
Beetlejuice (Theatre) / int_117c6f30	comment	In that same song, "Creepy Old Guy", the rest of the cast and Betelgeuse all turn to the audience to sing the line, "I can't believe some cultures think this kind of thing's all right". This is the only time any character other than Betelgeuse breaks the fourth wall in the show.
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Beetlejuice (Theatre) / int_11b85c2a	type	Fitness Nut
Beetlejuice (Theatre) / int_11b85c2a	comment	Fitness Nut: Beetlejuice mocks this trope in "The Whole Being Dead Thing", pointing out that no amount of exercise or healthy living will put off death forever.
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Beetlejuice (Theatre) / int_14beeefd	type	Darker and Edgier
Beetlejuice (Theatre) / int_14beeefd	comment	Darker and Edgier: The musical is considerably more adult in tone, with lewd humor and swear words abound (keep in mind that regardless of the adult jokes and Precision F-Strike in the movie, it was still rated PG). The Black Comedy is also much darker now, as exemplified by the deaths of Otho and Juno.
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Beetlejuice (Theatre) / int_15b2cab3	type	Tempting Fate
Beetlejuice (Theatre) / int_15b2cab3	comment	Tempting Fate: Skye the girl scout has a whole number where she keeps bringing up how fragile her heart is and how it could cause her to literally die of fright, as she approaches the "creepy-looking house" that has just been taken over by BJ and Lydia. She lays it on so thick that it's hardly a surprise that she's inexplicably fine despite being scared shitless by the duo. Chalk it up to the Unspoken Plan Guarantee.
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Beetlejuice (Theatre) / int_1777688d	type	Genre Savvy
Beetlejuice (Theatre) / int_1777688d	comment	Genre Savvy: While Lydia is committed to making her father suffer, she's not an idiot. She knows a supernatural being showing up out of the blue and offering to solve all her problems in exchange for one small favor is a disaster waiting to happen.
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Beetlejuice (Theatre) / int_19e9b150	type	Diegetic Soundtrack Usage
Beetlejuice (Theatre) / int_19e9b150	comment	Diegetic Soundtrack Usage: At the end of "The Whole 'Being Dead' Thing", the ensemble briefly vocalizes the original film's theme music.
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Beetlejuice (Theatre) / int_1ccad9a3	type	Villain Song
Beetlejuice (Theatre) / int_1ccad9a3	comment	"That Beautiful Sound" is a milder example, since it's not so much a Villain Song as it is a jovial duet/dance number with Lydia about the joys of scaring people and hearing their glorious screams. It is, however, followed by a Dark Reprise in which BJ hatches his plot to marry Lydia in order to come back to lifenote This reprise is not included in the soundtrack.
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Beetlejuice (Theatre) / int_1dce4748	type	Power Limiter
Beetlejuice (Theatre) / int_1dce4748	comment	Power Limiter: Betelgeuse has nearly infinite power, but to be able to use any of it he needs a living person to willingly say his name three times in a row. Part of the limit means that even he can't say his own name aloud.
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Beetlejuice (Theatre) / int_1dd12556	type	We All Die Someday
Beetlejuice (Theatre) / int_1dd12556	comment	We All Die Someday: "The Whole 'Being Dead' Thing" is all about this, with Betelgeuse reminding the audience that they're going to die at some point. The chorus even says it in the lyrics: "oh, and full disclosure, it's a show about death!" It's also the central theme, and the source of the conflict with Lydia; she's so desperate to see her dead mother again that she'll do whatever Betelgeuse wants. The aesop at the end of the play is that all we can really do is make peace with death, and hold onto our memories of those who have passed on.
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Beetlejuice (Theatre) / int_1dfd19f9	type	Papa Wolf
Beetlejuice (Theatre) / int_1dfd19f9	comment	Papa Wolf: Adam and Charles reach this at the same point, angrily refusing to let Lydia marry Beetlejuice nearly in perfect unison.
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Beetlejuice (Theatre) / int_1e68311c	type	"No. Justâ€¦ No" Reaction
Beetlejuice (Theatre) / int_1e68311c	comment	"No. Justâ€¦ No" Reaction: In the album recording of ''Fright of Their Lives", Betelgeuse's reaction to one of Adam's "scary" suggestions: to talk like a baby.
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Beetlejuice (Theatre) / int_1e7487cd	type	Breaking the Fourth Wall
Beetlejuice (Theatre) / int_1e7487cd	comment	Breaking the Fourth Wall: Whether it's in the show, in televised performances, or even on the cast recording, Betelgeuse can go full Deadpool on you if he feels like it. Throughout the show, whenever Betelgeuse says something self-deprecating — he's lonely, feeling like no one cares about him, that he'll never amount to anything, etc. — he'll point to someone in the front row and say "This guy knows what I'm talking about!" During the penultimate song: In that same song, "Creepy Old Guy", the rest of the cast and Betelgeuse all turn to the audience to sing the line, "I can't believe some cultures think this kind of thing's all right". This is the only time any character other than Betelgeuse breaks the fourth wall in the show.
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Beetlejuice (Theatre) / int_20989d05	type	Parents as People
Beetlejuice (Theatre) / int_20989d05	comment	Parents as People: Charles at first seems dismissive indifferent towards Lydia's pain, but that is mostly because he himself is hiding his own pain over his wife's death, and finally manages to reconcile with her.
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Beetlejuice (Theatre) / int_20f689e9	type	Adaptational Villainy
Beetlejuice (Theatre) / int_20f689e9	comment	Juno isn't nearly as prominent as she is in the film, since she never meets nor helps the Maitlands in this version. She is given a villainous turn for her decreased role.
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Beetlejuice (Theatre) / int_2251ac0a	type	Ode to Family
Beetlejuice (Theatre) / int_2251ac0a	comment	Ode to Family: "Dead Mom" is about Lydia missing her, well, dead mom, while "Home" and "Jump In The Line/Dead Mom (Reprise)" are about her mending her relationship with the rest of her family.
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Beetlejuice (Theatre) / int_23568a2a	type	Adaptational Job Change
Beetlejuice (Theatre) / int_23568a2a	comment	Adaptational Job Change: Delia is now Lydia's personal life coach, instead of her stepmother and an eccentric artist. She still brings along some kooky art once the Deetzes move in, but it's never explicitly stated whether she made them herself. Otho is no longer an interior designer; instead, he's a self-proclaimed guru and life coach. He was also a cult leader in the preview production, but this idea was eventually scrapped. Juno isn't a caseworker anymore and is now, according to the official Twitter, the Director of Netherworld Customs and Processing.
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Beetlejuice (Theatre) / int_24067bb9	type	Related in the Adaptation
Beetlejuice (Theatre) / int_24067bb9	comment	Related in the Adaptation: In the movie, Juno was merely BJ's former employer. In the musical, she's his mother.
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Beetlejuice (Theatre) / int_267ce120	type	Dirty Old Man
Beetlejuice (Theatre) / int_267ce120	comment	Dirty Old Man: The ghost with the most himself, lampshaded in the penultimate number "Creepy Old Guy."
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Beetlejuice (Theatre) / int_26ac510e	type	Mythology Gag
Beetlejuice (Theatre) / int_26ac510e	comment	Mythology Gag: Several nods to the original source material make their way into the show. The overture opens with a disembodied chorus eerily singing "Daylight come and me wan' goooooo...", just like in the film. A smaller, modified version of one of Delia's sculptures appears as a prop. At one point, Betelgeuse literally shuts Adam's mouth closed with a slab of metal, as he did with Barbara in the film. During "Fright of Their Lives" Betelgeuse recommends the Maitlands learn how to throw their voices like he did when he met them in the movie, right down to also calling it "fun at parties". In "That Beautiful Sound", one of Betelgeuse's clones scares away a pizza man using the same "snake face" gag that Movie!BJ used on the Maitlands. Lydia and Betelgeuse's buddy-buddy relationship in Act II is taken straight from the animated series. The Shrunken Head Man, the dead football team, and even the smoker ghost appear in "What I Know Now" alongside Miss Argentina. "The Whole 'Being Dead' Thing" ends with the ensemble vocalizing the original film's theme music. When BJ takes control of the Maitlands and forces them to give him "five-star reviews" for Lydia, they mention that he was a student at Julliard. Just before Maxie Dean enters the house, Charles appears to glance out a window and a helicopter sound effect is heard, referencing the fact that he flew in by helicopter in the movie. When Betelgeuse rides in on the sandworm at the end, he dons a ten-gallon hat and acts like a cowboy, just like he did for his commercial in the movie. Lydia caps off the show the same way she ended the film, by playfully levitating while singing "Jump in the Line".
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Beetlejuice (Theatre) / int_2a090d00	type	Lampshade Hanging
Beetlejuice (Theatre) / int_2a090d00	comment	Lampshade Hanging: After the fifth person in a row rings the doorbell, Betelgeuse comments "Holy moly, lotta people come to this house."
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Beetlejuice (Theatre) / int_2b14367f	type	Bring My Brown Pants
Beetlejuice (Theatre) / int_2b14367f	comment	Bring My Brown Pants: In "That Beautiful Sound", Betelgeuse describes the eponymous sound (someone screaming in fright) as "the sound of clean white shorts turning brown."
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Beetlejuice (Theatre) / int_2bb06191	type	Adaptational Sexuality
Beetlejuice (Theatre) / int_2bb06191	comment	Adaptational Sexuality: Otho was implied to be gay in the original film and this is still the case in this musical, but the scrapped song "I Am Very Good at Running Cults" had him mention that he's bedded a lot of women. Word of God states that Betelgeuse is pansexual, as he constantly flirts with (and sometimes harasses) Barbara, Adam, and Delia, and right before "Creepy Old Guy" suggests a collective sexual activity between him and all the characters in the scene. Adam himself is either Ambiguously Bi or very good at faking it.
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Beetlejuice (Theatre) / int_2dc373ff	type	Ghost Song
Beetlejuice (Theatre) / int_2dc373ff	comment	Ghost Song: With a show like this, there are naturally a few of these. "The Whole 'Being Dead' Thing" takes the cake though, with Betelgeuse serenading the audience of their inevitable doom in a cemetery while celebrating the perks of being dead.
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Beetlejuice (Theatre) / int_2ed5e99d	type	Depraved Bisexual
Beetlejuice (Theatre) / int_2ed5e99d	comment	Depraved Bisexual: Betelgeuse, who goes after several men and women and frequently calls Adam sexy.
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Beetlejuice (Theatre) / int_35f57671	type	Minion with an F in Evil
Beetlejuice (Theatre) / int_35f57671	comment	Minion with an F in Evil: The Maitlands, making BJ give up on getting them to be scary and move on to manipulating Lydia directly. The creepiest they manage is the "Day-O" haunting, and even that goes wrong.
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Beetlejuice (Theatre) / int_38d02d44	type	Batman Gambit
Beetlejuice (Theatre) / int_38d02d44	comment	Denial/Bargaining: Spurred on by BJ's claim that there's a spell in the Handbook for calling ghosts from the Netherworld, Lydia attempts to use it—and Barbara begins to disintegrate. As a horrified Adam and Lydia look on, BJ gleefully spills the beans on his Batman Gambit—resentful of the fact that Lydia pushed him aside in favor of finding her dead mother, he tricked her into casting a spell for exorcising ghosts so he could extort Lydia for his own chance at life through marriage. High on his victory, BJ mocks Lydia, cruelly tells her that her mom's gone for good ("Once you go to the Netherworld, you don't come back!"), and Lydia's forced to agree to get him to stop the exorcism.
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Beetlejuice (Theatre) / int_38d12399	type	Teens Are Monsters
Beetlejuice (Theatre) / int_38d12399	comment	Teens Are Monsters: Lydia when Betelgeuse initially takes over the house. She spends three days just helping him prank people by scaring the crap out of them and making them think they're going to die, and is unfazed by the Maitlands' scolding on the matter.
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Beetlejuice (Theatre) / int_3f11ef74	type	Parental Substitute
Beetlejuice (Theatre) / int_3f11ef74	comment	Parental Substitute: Barbara and Adam become this to Lydia almost immediately (with Lydia even delightedly laughing at one of Adam's corny jokes and declaring it "the perfect dad joke" only minutes after they've met). By the end of the show, though, she gets to have both them and her biological father Charles, as well as her future stepmom Delia, as parental figures, all working together to take care of her.
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Beetlejuice (Theatre) / int_3f45f1e6	type	Adaptational Heroism
Beetlejuice (Theatre) / int_3f45f1e6	comment	Adaptational Heroism: Betelgeuse, while still as crass and obnoxious as ever, is given the sympathetic motive of wanting to experience life again; he just resorts to some sleazy methods to achieve it. At the end, his short-lived resurrection allows him to understand why life is important to those still alive, and it seems to have sapped his love of murder. Delia, for a given value of heroism. She genuinely wants to be friendly with Lydia from the start and is even concerned about the effect Delia and Charlesâ€™s affair will have on Lydia if they keep it secret; she just has no idea how to get through to the girl and mostly manages to embarrass herself.
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Beetlejuice (Theatre) / int_3fb5ab75	type	The Eleven O'Clock Number
Beetlejuice (Theatre) / int_3fb5ab75	comment	The Eleven O'Clock Number: "Creepy Old Guy" wherein the tables are turned on the ghost with the most.
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Beetlejuice (Theatre) / int_4781adbb	type	Jerk with a Heart of Gold
Beetlejuice (Theatre) / int_4781adbb	comment	Jerk with a Heart of Gold: Betelgeuse becomes one by the end of the play; having experienced what it was like to be alive, he chooses to end his ways as a killer and comes to appreciate Lydia and the Maitlands. While Charles acts aloof and distant towards Lydia, when she travels into the Netherworld to find her mother, he's quick to follow her and manages to fix his relationship with her.
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Beetlejuice (Theatre) / int_48c99e19	type	Death by Adaptation
Beetlejuice (Theatre) / int_48c99e19	comment	Death by Adaptation: In the film, Otho runs off screaming after Betelgeuse puts him in a drab-looking suit. His fate in the musical is much grimmer: BJ puts him on a "wheel of death" and unceremoniously kills him.
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Beetlejuice (Theatre) / int_4a3e547f	type	Leaning on the Fourth Wall
Beetlejuice (Theatre) / int_4a3e547f	comment	Leaning on the Fourth Wall: After Lydia's opening number "Invisible" Betelgeuse remarks on the first song being "a ballad" and also the departures they're making from "the original source material!" In "The Whole 'Being Dead' Thing", Betelgeuse remarks that "I do this bullshit, like, eight times a week", which is the number of times a Broadway show is performed (one every evening plus an afternoon show on Saturdays). Also during this song, he's liable to reference what theater they're performing in, and outright threatens the audience if he hears any cell phones. The song even has different lyrics based on if it's live or on the album, about how if you die, they're going to keep on with the show/the album will still play. Finally, it repeatedly reminds the audience that this is "a show about death!" In "Fright of Their Lives", Betelgeuse starts complaining about the Maitlands, leading to a I'm Standing Right Here moment. His response is that they're the rude ones because "actually, that was a soliloquy.â€� During his goodbyes at the end of the show, Betelgeuse notes that he and Delia don't actually have any significant stage time together and therefore he has nothing to say to her.
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Beetlejuice (Theatre) / int_4a5fcde	type	Adaptational Alternate Ending
Beetlejuice (Theatre) / int_4a5fcde	comment	Adaptational Alternate Ending: Instead of banishing BJ by saying his name three times again or getting him eaten by a sandworm, the cast gets him brought to life... to kill him and send him back to the Netherworld. Then Juno comes for revenge on Lydia for escaping the Netherworld and ends up the one eaten by the sandworm, as BJ tries to protect life now that he knows what it feels like, and he runs off to do something new while the two families decide to live together like in the film.
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Beetlejuice (Theatre) / int_4ca5d7ac	type	Summon Backup Dancers
Beetlejuice (Theatre) / int_4ca5d7ac	comment	Summon Backup Dancers: BJ conjures up an ensemble of dancers during "That Beautiful Sound"; unsurprisingly, they're all just clones of himself.
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Beetlejuice (Theatre) / int_4e7c4536	type	Wham Line
Beetlejuice (Theatre) / int_4e7c4536	comment	Wham Line: The moment Lydia summons Betelgeuse. Why is this a wham line? Because unlike the movie, it happens at the end of Act 1!
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Beetlejuice (Theatre) / int_4f247a69	type	Adaptational Ugliness
Beetlejuice (Theatre) / int_4f247a69	comment	Adaptational Ugliness: In the film, Juno was one of the few normal-looking ghosts in the Netherworld, with her only distinguishable feature being the huge slice in her throat. She looks a lot more exaggerated here, with a wrinkly white face and an enormous grey Beehive Hairdo. If anything, her design is more in line with the traditional Burton style.
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Beetlejuice (Theatre) / int_4fa3a61f	type	The Barnum
Beetlejuice (Theatre) / int_4fa3a61f	comment	The Barnum: Betelgeuse, in a nutshell. It's patently obvious that he has a scheme going on when he tries to get the Deetzes to haunt their own house, as well as trying to get Lydia on the hook for something. What the Deetzes don't know is just how far Betelgeuse is willing to go for what he wants, or the depths that he'll make them sink to for the sake of trying to stop him.
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Beetlejuice (Theatre) / int_5134c207	type	Failed Dramatic Exit
Beetlejuice (Theatre) / int_5134c207	comment	Failed Dramatic Exit: At one point, BJ attempts to disappear in a puff of smoke. When the smoke bomb he uses ends up being way too small, he just opts to exit through the door.
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Beetlejuice (Theatre) / int_550754dc	type	Improbable Infant Survival
Beetlejuice (Theatre) / int_550754dc	comment	Improbable Infant Survival: Little Skye has a congenital heart disease that's so serious, she "could be killed by a random sneeze". However, even after BJ and Lydia scare the crap out of her multiple times, she makes it out of the house okay.
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Beetlejuice (Theatre) / int_557838d1	type	Adaptational Attractiveness
Beetlejuice (Theatre) / int_557838d1	comment	Adaptational Attractiveness: Applied to Betelgeuse himself, believe it or not. He looks far younger, his hair is now much neater and shorter (if not a little exaggerated and green), and he no longer has the black eye makeup and ugly teeth. He even wears his signature striped suit for the majority of the show, instead of the old, dirty clothes that he wore in the film.
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Beetlejuice (Theatre) / int_5834239a	type	The Diss Track
Beetlejuice (Theatre) / int_5834239a	comment	The Diss Track: "Creepy Old Guy" is one thinly veiled as praise and appreciation for Beetlejuice's... unconventional charms.
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Beetlejuice (Theatre) / int_5a371c8f	type	Opportunistic Bastard
Beetlejuice (Theatre) / int_5a371c8f	comment	Opportunistic Bastard: Betelgeuse's original plan was just to use the Maitlands to get the Deetz family to say his name three times, which fell through because the Maitlands just aren't scary. Everything else that happens in the musical afterwards comes from him emotionally manipulating Lydia instead purely because she just so happened to be able to see him, something he obviously didn't plan for.
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Beetlejuice (Theatre) / int_5b1a2f4e	type	Ain't Too Proud to Beg
Beetlejuice (Theatre) / int_5b1a2f4e	comment	Ain't Too Proud to Beg: Betelgeuse is willing to beg on his knees for someone to say his name if he thinks it'll work.
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Beetlejuice (Theatre) / int_5ce2c9c6	type	Suddenly Shouting
Beetlejuice (Theatre) / int_5ce2c9c6	comment	Suddenly Shouting: Betelgeuse does it a few times, usually when trying (and failing) to hide his bad nature. There's also this moment from "No Reason":
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Beetlejuice (Theatre) / int_5ce7dbb9	type	Central Theme
Beetlejuice (Theatre) / int_5ce7dbb9	comment	Central Theme: Death, of course. The opening number, "The Whole 'Being Dead' Thing", blatantly and repeatedly calls this "a show about death". Betelgeuse has a cynical approach to it ("When you're dead, who gives a shit?"), and the living try desperately to avoid the uncomfortable subject. Meanwhile, Lydia's story has a more positive and hopeful viewpoint (you canâ€™t dwell in the past, and have to learn to say goodbye to your deceased loved ones in order to continue your life at its fullest, but you can always keep their memory in your heart). Miss Argentina and the Netherworld inhabitants also offer a cautionary message with the song "What I Know Now", which advocates not being reckless or suicidal — some of them died of preventable accidents rather than suicide, but still lament their choices that landed them in the Netherworld before they were ready to go.
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Beetlejuice (Theatre) / int_5da37ab5	type	Triumphant Reprise
Beetlejuice (Theatre) / int_5da37ab5	comment	Triumphant Reprise: The closing number is a combination of "Jump in the Line" and a more upbeat version of "Dead Mom". In contrast to the original song being about Lydia lamenting her difficulty in handling the death of her mother, the reprise of "Dead Mom" instead has Lydia expressing her newfound ability to move on and enjoy life while still missing her mom.
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Beetlejuice (Theatre) / int_603f1a80	type	Pragmatic Adaptation
Beetlejuice (Theatre) / int_603f1a80	comment	Pragmatic Adaptation: The show does a pretty good job at retaining many of the movie's fantastical elements (characters like the Shrunken Head Man and the sandworm are indeed included), but liberties are still taken when they're needed. The Maitlands' miniature model of the town, which served as a recurring location in the film, is removed. As a result, Betelgeuse is no longer tiny when he first meets Lydia. Betelgeuse never turns into a giant snake. The closest thing we get to it is the enormous Betelgeuse head and hands◊ that emerge at the end of Act 1. Though there is a separate giant snake seen as early as the second number. The Maitlands' fatal accident is changed to them falling through the old creaky flooring in their house. In the film, they accidentally drove their car into a river. This is further changed to them electrocuting themselves in touring productions since not all theaters are equipped with a proper trap door. The scene where the Maitlands grotesquely disfigure their faces is omitted completely. Justified in that the movie Maitlands, while fairly staid, knew how to be scary from the start and just had trouble being seen, while their musical counterparts struggle with the entire concept and ultimately never end up very good at it (not that they have to by the end).
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Beetlejuice (Theatre) / int_60426489	type	Citizenship Marriage
Beetlejuice (Theatre) / int_60426489	comment	Citizenship Marriage: BJ's plan for Lydia is to marry her so he can be alive again. When he initially brings up the idea, even his duplicates are disgusted until he clarifies, "It's not a real marriage; it's like a green-card type of deal!" This logic doesn't work as well to reassure the Maitlands, Lydia, or her family.
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Beetlejuice (Theatre) / int_6293c185	type	Sequel Hook
Beetlejuice (Theatre) / int_6293c185	comment	Sequel Hook: Not really, but parodied.
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Beetlejuice (Theatre) / int_630203e3	type	Shrunken Head
Beetlejuice (Theatre) / int_630203e3	comment	Shrunken Head: The hunter from the movie makes an appearance during "What I Know Now", where the cause of his shrunken head was angering a group of pygmies. The play gets off one last joke by having him reappear as the conductor before the curtain call.
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Beetlejuice (Theatre) / int_66c725b6	type	Inconsistent Spelling
Beetlejuice (Theatre) / int_66c725b6	comment	Inconsistent Spelling: Unlike the movie (which spelled it like the star everywhere but the title) or the show (which only spelled it as a compound word) there's some inconsistency with the titular character's name. The title, the official website, and the man himself spell it "Beetlejuice", but a backdrop in the show spells it "Betelgeuse". Note that even on this page it goes back and forth.
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Beetlejuice (Theatre) / int_66dfe36a	type	Missing Mom
Beetlejuice (Theatre) / int_66dfe36a	comment	Missing Mom: The events that set the plot in motion. Lydia's mother is dead, and Lydia will do whatever it takes to see her again.
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Beetlejuice (Theatre) / int_6732af17	type	Pep-Talk Song
Beetlejuice (Theatre) / int_6732af17	comment	Pep-Talk Song: "Fright of Their Lives", where Betelgeuse tries coaching the Maitlands into being frightening ghosts; unfortunately for him, they're pretty pathetic at it. Fittingly enough, the song sounds like it was ripped out of an 80's training montage. "No Reason" is Delia's attempt to life coach Lydia. However, her advice is anything but helpful, and Lydia is far too negative to get anything out of it.
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Beetlejuice (Theatre) / int_6d332aea	type	Driven to Suicide
Beetlejuice (Theatre) / int_6d332aea	comment	Driven to Suicide: Lydia, as in the film. Unlike the film, where he evinces some genuine concern for her, BJ's main reason for stopping her here is that he specifically needs a living person to say his name.
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Beetlejuice (Theatre) / int_6fbe85e6	type	Adaptation Personality Change
Beetlejuice (Theatre) / int_6fbe85e6	comment	Adaptation Personality Change: Adam and Barbara in the original film were essentially sweet, normal people intended as audience surrogates, and while Adam was a little bit of a Cloud Cuckoolander they were both very grounded, as well as pretty good at coming up with scares, just not at being seen performing them. Here they're essentially Brad and Janet if they never made it to Frank's castle, and too set in their milquetoast ways to have basically any idea of how to scare anyone until Lydia collaborates with them. The film's Charles and Delia were respectively a relatively normal, casual guy (albeit one recovering from a nervous breakdown) and a highly-strung, sharp-tongued artist with a lot of difficulty showing any warmth or affection toward Lydia especially until the end. The show's Charles is The Comically Serious and a brooding widower attempting to brush back his own grief with work and (initially misguided) attempts to help Lydia with hers, while Delia is a spacey New Age type who does her best to be as kind and loving toward Lydia as possible and mostly fails only because she and Lydia have aggressively different viewpoints, and Lydia wallows in grief while Delia tries to grin through it.
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Beetlejuice (Theatre) / int_70377a97	type	Transforming Conforming
Beetlejuice (Theatre) / int_70377a97	comment	Transforming Conforming: In The Musical, Beetlejuice's attempt to become human by marrying Lydia actually works... only for Lydia to immediately stab him now that he's mortal.
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Beetlejuice (Theatre) / int_70e70dd2	type	Life-Affirming Aesop
Beetlejuice (Theatre) / int_70e70dd2	comment	Life-Affirming Aesop: Lydia spends most of the show obsessing over death, as she is grieving her dead mother. When she goes to the Netherworld trying to find her mother, a number of ghosts tell her she's better off going home and living her life while she can. Her father also follows her and helps Lydia realize she still has a family to live for.
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Beetlejuice (Theatre) / int_722b3319	type	Camp Gay
Beetlejuice (Theatre) / int_722b3319	comment	Camp Gay: Otho, as in the original film. Hell, he's actually even more flamboyant now.
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Beetlejuice (Theatre) / int_730d3664	type	Adaptational Angst Upgrade
Beetlejuice (Theatre) / int_730d3664	comment	Adaptational Angst Upgrade: The death of Lydia's mother plays a huge role in both the story and Lydia's character. The latter spends most of the show grieving about her loss, and she eventually traverses to the Netherworld with the hopes of meeting her again.
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Beetlejuice (Theatre) / int_736d791f	type	Adaptational Badass
Beetlejuice (Theatre) / int_736d791f	comment	Adaptational Badass: Juno is hit with this hard, thanks to her Adaptational Villainy. She's now a powerful demon who can push around Betelgeuse himself with no effort at all. With The Reveal of her being his mother, it's made pretty clear where BJ got all his zany powers. Lydia also has shades of this, from pushing Beetlejuice off the roof seemingly for shits and giggles to outwitting him at his own wedding scheme and quite literally stabbing him in the back. With Bad Art.
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Beetlejuice (Theatre) / int_7464705c	type	Arc Words
Beetlejuice (Theatre) / int_7464705c	comment	Arc Words: Two particular phrases, both used prominently by Betelgeuse and Lydia. "Say my name." Betelgeuse, of course, needs a living person to say his name three times, while Lydia just wants her father to listen to her, and acknowledge her late mother instead of acting like she never existed. (He eventually admits to her that he didn't want to think about his wife because he's still grieving over her, and her memory is just too painful to bear.) Invisible. Lydia feels metaphorically invisible in her own home, and laments on how the world carries on like normal while she's stuck suffering from depression, with not even her father and life coach batting an eye. Betelgeuse and the Maitlands, on the other hand, are literally invisible, since they're ghosts who can't be seen by anyone but Lydia. Betelgeuse in particular wants to become visible so that he can interact with the world again (and wreak lots of havoc). House/Home is seen often as the (ownership of/the haunting of the) Victorian plays a major role. The musicalâ€™s very first line is the response from "Day-O": "Daylight come and me wanna go..." trailing off before it reaches home. Adam Maitland's first line is "Barbara, I'm home!" The Maitlands' introductory song ("Ready, Set, Not Yet") has them deciding to put off having children because of necessary home renovations (then dying at the end of it). Because they died in their house, Beetlejuice can keep the Maitlands there, haunting it. Getting the Deetzes out of their home is what convinces the Maitlands to team up with Beetlejuice. Lydia balks at moving into the Victorian and selling the house where she used to live (with her recently-deceased mother). The only reason the Deetzes are moving in is to turn the house into a "flagship model home" for her fatherâ€™s planned gated community. Lydia doesn't accept the idea of this new house being her home, identifying her mother as home instead ("You're my home / My destination"), which establishes the driving motivation behind her actions in the show: she tries to get back home by seeing her mother again ("Dead Mom"). Lydia teams up with the Maitlands as they all want the Deetzes out of the house. Lydia finally calls on Beetlejuice when the Maitlands' haunting fails ("Day-O"), and it seems her father is going to make money on the Victorian being haunted. Adam opens the portal to the Netherworld, but Barbara closes it as sheâ€™s afraid of leaving the house and of change. The Maitlands ("Barbara 2.0") then realize they are sick of living in the attic of their house (with their failed projects) and decide to be there for Lydia as she needs a family and "Not a house / But a home." In the Netherworld, Miss Argentina tells ("What I Know Now") Lydia: "So if you are breathing / Go home!" Lydia's song after that is called "Home". Realizing that she can't bring her mother back from the Netherworld, she despairs, saying that she has no home without her mother, until she identifies her family (her father, Delia and the Maitlands) as being her home. The ending is the Deetzes and the Maitlands deciding to live together and cleaning up the house. The show's final lyrics are: "Mama, I'm home / I'm home / I'm home," and the repeated response from "Day-O".
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Beetlejuice (Theatre) / int_762b9223	type	Played for Laughs
Beetlejuice (Theatre) / int_762b9223	comment	Played for Laughs with Betelgeuse; apparently, his first name is Lawrence.
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Beetlejuice (Theatre) / int_76b4b7dd	type	The Comically Serious
Beetlejuice (Theatre) / int_76b4b7dd	comment	The film's Charles and Delia were respectively a relatively normal, casual guy (albeit one recovering from a nervous breakdown) and a highly-strung, sharp-tongued artist with a lot of difficulty showing any warmth or affection toward Lydia especially until the end. The show's Charles is The Comically Serious and a brooding widower attempting to brush back his own grief with work and (initially misguided) attempts to help Lydia with hers, while Delia is a spacey New Age type who does her best to be as kind and loving toward Lydia as possible and mostly fails only because she and Lydia have aggressively different viewpoints, and Lydia wallows in grief while Delia tries to grin through it.
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Beetlejuice (Theatre) / int_7870735b	type	From Bad to Worse
Beetlejuice (Theatre) / int_7870735b	comment	From Bad to Worse: Charles Deetz gets a lot of this. First, his daughter's in a seemingly unbreakable depression after the death of his wife at the start of the play. Then said daughter summons a demon to their new home because she felt he wasn't paying enough attention to her or acknowledging her mother's death enough. Then said daughter dives into the afterlife in an effort to find her mother. The man goes through the wringer.
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Beetlejuice (Theatre) / int_7c0bfb83	type	Obviously Evil
Beetlejuice (Theatre) / int_7c0bfb83	comment	Obviously Evil: The main thing that forces Betelgeuse to fall back on his cons is that absolutely no one trusts him after knowing him for more than a few seconds, primarily due to his habit of having slip ups where he brings up murder and torture right off the bat, such as within seconds of meeting Lydia he suggests they kill her dad as an option to solving her troubles.
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Beetlejuice (Theatre) / int_81867cc	type	Warning Song
Beetlejuice (Theatre) / int_81867cc	comment	Warning Song: "What I Know Now" is basically an anti-suicide PSA, with Ms. Argentina and the recently deceased mourning the fact that they didn't live life to the fullest and encouraging Lydia to live life to the fullest while she still can.
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Beetlejuice (Theatre) / int_81bdc398	type	He's Back!
Beetlejuice (Theatre) / int_81bdc398	comment	He's Back!: Subverted with the song "Barbara 2.0" where the Maitlands rally themselves—they realize they were never really living before and decide to really bring it in order to help Lydia.
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Beetlejuice (Theatre) / int_83a903f6	type	Stepford Smiler
Beetlejuice (Theatre) / int_83a903f6	comment	Stepford Smiler: Delia, whose relentlessly cheerful attempts at tuning into the universe, as she calls it, are mostly her way of trying to deal with feeling repeatedly abandoned (not least by her first husband) and her fears of aging. Adam and Barbara, a little, though in their case it's less trying to pretend they're happy when they're not so much as (initially) not wanting to venture into thinking of anything complicated or grim enough to mess with their happiness. Maxine Dean in some portrayals (particularly Zonya Love's). Just listen to her desperate laughter as she says Maxie is "so mean" to her.
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Beetlejuice (Theatre) / int_86ae1278	type	Adaptational Dumbass
Beetlejuice (Theatre) / int_86ae1278	comment	Adaptational Dumbass: Delia is portrayed as ditzy and incompetent here, frequently spouting nonsensical life advice that does very little to help Lydia's situation.
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Beetlejuice (Theatre) / int_8ace85ef	type	Audience Surrogate
Beetlejuice (Theatre) / int_8ace85ef	comment	Adam and Barbara in the original film were essentially sweet, normal people intended as audience surrogates, and while Adam was a little bit of a Cloud Cuckoolander they were both very grounded, as well as pretty good at coming up with scares, just not at being seen performing them. Here they're essentially Brad and Janet if they never made it to Frank's castle, and too set in their milquetoast ways to have basically any idea of how to scare anyone until Lydia collaborates with them.
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Beetlejuice (Theatre) / int_9438e550	type	The Big Damn Kiss
Beetlejuice (Theatre) / int_9438e550	comment	The Big Damn Kiss: Adam and Barbara share a passionate, romantic kiss toward the climax of "Barbara 2.0" to seal the deal on their decision to treat death as a new lease on life. Parodied with Charles and Delia making out on the dining room table minutes after their entrance. It's framed more or less like their sexual tension has finally shattered into passion, but their dialogue and further scenes imply this is just how they are together on a regular basis. And parodied even further when Adam briefly seduces Beetlejuice as a distraction and plants a long, heated kiss on him. (Barbara tries to do the same but can't bring herself to go through with it.)
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Beetlejuice (Theatre) / int_9785b592	type	The Fatalist
Beetlejuice (Theatre) / int_9785b592	comment	Betelgeuse has a cynical approach to it ("When you're dead, who gives a shit?"), and the living try desperately to avoid the uncomfortable subject. Meanwhile, Lydia's story has a more positive and hopeful viewpoint (you canâ€™t dwell in the past, and have to learn to say goodbye to your deceased loved ones in order to continue your life at its fullest, but you can always keep their memory in your heart).
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Beetlejuice (Theatre) / int_9d12bbc1	type	Foreshadowing
Beetlejuice (Theatre) / int_9d12bbc1	comment	Foreshadowing: Happens a couple of times. When Betelgeuse meets the Maitlands for the first time, he asks Adam how he got Barbara to marry him. Later, it's revealed that his Evil Plan is to force Lydia into a green card marriage that will make him alive, though it's unlikely that he had planned this from the start. This line of dialogue from the start of Act 2:
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Beetlejuice (Theatre) / int_9d174dc0	type	Hates Being Alone
Beetlejuice (Theatre) / int_9d174dc0	comment	Hates Being Alone: Part of the reason for most things Betelgeuse does is that he can't stand being alone any longer.
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Beetlejuice (Theatre) / int_9dfb8296	type	This Is Gonna Suck
Beetlejuice (Theatre) / int_9dfb8296	comment	This Is Gonna Suck: Charles's reaction to Delia calling in Otho to get rid of Betelgeuse.
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Beetlejuice (Theatre) / int_a65288e2	type	Ascended Extra
Beetlejuice (Theatre) / int_a65288e2	comment	Ascended Extra: Miss Argentina has an entire song about how she regrets killing herself and missing out on the rest of her life, and is joined halfway by several other spirits who recently died (a paraglider who jumped at the wrong time, a woman who committed suicide by dropping a toaster into a bathtub, a classy man who died when he ignited his bed while smoking in it, a football team whose bus crashed, a man who was murdered by his wife, whom he cheated on, a jockey who was thrown from her horse, a construction worker who was careless with explosives, and the recurring extra of the hunter with the shrunken head). This is the first key moment that helps push Lydia out of her suicidal state.
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Beetlejuice (Theatre) / int_a7c91a10	type	Meaningless Villain Victory
Beetlejuice (Theatre) / int_a7c91a10	comment	Meaningless Villain Victory: Betelgeuse gets exactly what he wants by marrying Lydia and coming back to life. But then, Lydia just near-instantly kills him again. And since Betelgeuse is now recently-deceased, he can be banished to the Netherworld and never escape.
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Beetlejuice (Theatre) / int_a91078ea	type	Adaptational Jerkass
Beetlejuice (Theatre) / int_a91078ea	comment	Adaptational Jerkass: Lydia is much more troubled by her mother's death and vents out her frustrations by summoning Betelgeuse to scare anyone who visits. Charles is a minor case, but he comes off as much more dismissive and indifferent to Lydia's pain by keeping his affair with Delia a secret until near the end of Act 1. This is mitigated in the second act.
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Beetlejuice (Theatre) / int_ab5d5d86	type	Evolving Music
Beetlejuice (Theatre) / int_ab5d5d86	comment	Evolving Music: When performed outside of the show, "The Whole Being Dead Thing" always changes to fit the circumstances of the performance. The live Broadway version welcomes the audience to the Winter Garden Theater, but this is changed for the cast recording, and performances for the Tony Awards, Today and especially the the Macy's Parade change the lyrics to reflect the current venue.
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Beetlejuice (Theatre) / int_b06bbf4b	type	Be Careful What You Wish For
Beetlejuice (Theatre) / int_b06bbf4b	comment	Be Careful What You Wish For: Lydia and Charles have the whole cast pull this on Betelgeuse, by actually letting him marry Lydia to live again... only to kill him within a minute so they can send him to the Netherworld and be rid of him.
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Beetlejuice (Theatre) / int_b11ac9f5	type	Abusive Parents
Beetlejuice (Theatre) / int_b11ac9f5	comment	Abusive Parents: Betelgeuse mentions a few times that his mother was a horrible parent who prioritized booze over her own son. We later find out that this awful woman is Juno.
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Beetlejuice (Theatre) / int_b1dde8fd	type	Loophole Abuse
Beetlejuice (Theatre) / int_b1dde8fd	comment	Loophole Abuse: Realizing that the terminology from The Handbook For The Recently Deceased relies on semantics and Exact Words, Lydia hatches a scheme to rid the house of Betelgeuse once and for all... by going along with BJ's forced marriage and getting everyone in on the act to sell him on the con, the wedding successfully returns Betelgeuse to life... and saps him of his powers. Before he can do anything rash, Lydia promptly kills him (again) and as he's now considered "Recently Deceased", she's able to send him back to the Netherworld. The plan would have succeeded had Juno not intervened.
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Beetlejuice (Theatre) / int_b39def3c	type	Deathly Dies Irae
Beetlejuice (Theatre) / int_b39def3c	comment	Deathly Dies Irae: The ensemble sings "dies irae" to the traditional tune during the final moments of "The Whole Being Dead Thing" and on one note earlier in the same piece.
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Beetlejuice (Theatre) / int_b53077b3	type	Take That!
Beetlejuice (Theatre) / int_b53077b3	comment	Take That!: BJ's brutal jab at a certain musical from the 1940s note which was lampooned by the cartoon. Later performances would do a similar one against The Music Man, which makes sense as the show was forcibly evicted to make way for the latter's 2020 revival.
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Beetlejuice (Theatre) / int_b8e3f20a	type	Demoted to Extra
Beetlejuice (Theatre) / int_b8e3f20a	comment	Demoted to Extra: The Maitlands, due to the play focusing more on Lydia grieving for her dead mother. They still play a very important role, but it is diminished from their film selves. In the film, Otho's a major supporting character who accompanies the Deetzes from the start. Here, he doesn't show up until early into Act 2, and is quickly disposed of a few scenes later. Juno isn't nearly as prominent as she is in the film, since she never meets nor helps the Maitlands in this version. She is given a villainous turn for her decreased role.
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Beetlejuice (Theatre) / int_bd0230fb	type	Ambiguously Bi
Beetlejuice (Theatre) / int_bd0230fb	comment	Adam himself is either Ambiguously Bi or very good at faking it.
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Beetlejuice (Theatre) / int_bdd4c302	type	Perky Goth
Beetlejuice (Theatre) / int_bdd4c302	comment	Perky Goth: Unlike in the film, it's implied that Lydia was one of these until her mother died. Charles points out that she's only been wearing black full-time since Emily died, and Lydia protests that she's in mourning, which suggests this is a relatively new thing for her. On the other hand, one of her fondest memories of her mother was that they used to build haunted house attractions in the summer and that Emily dressed as the ghost of Edgar Allan Poe; perhaps Emily and Lydia simply shared a love of all things spooky no matter how Lydia was dressed at the time?
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Beetlejuice (Theatre) / int_c181a846	type	Dies Differently in Adaptation
Beetlejuice (Theatre) / int_c181a846	comment	Dies Differently in Adaptation: Adam and Barbara are killed when they plummet into their own basement, thanks to the house's old flooring. In the movie, they drowned after driving into a river. The touring production changes their death again to accidental electrocution by faulty wiring, likely to accommodate venues that aren't able to pull off the original stage version.
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Beetlejuice (Theatre) / int_c2299d6e	type	Cutting the Knot
Beetlejuice (Theatre) / int_c2299d6e	comment	Cutting the Knot: After the Maitlands refuse to open the handbook again, BJ comes up with a way to do it despite not being recently deceased himself: kill a bird and have Lydia pry the book open with its recently deceased beak. (This scene is removed in the Broadway version of the show, where the only requirement to open the book is that you are dead, and Betelgeuse opens it quite easily by himself.)
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Beetlejuice (Theatre) / int_c3448a6f	type	Informed Attribute
Beetlejuice (Theatre) / int_c3448a6f	comment	Informed Attribute: Skye's last line lampshades the fact that her arrhythmic heart was able to withstand being terrified by BJ and Lydia.
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Beetlejuice (Theatre) / int_c4d09d24	type	Couch Gag
Beetlejuice (Theatre) / int_c4d09d24	comment	Couch Gag: A rare live-action example; late in the show's run, the actors playing Betelgeuse and Lydia began incorporating gags into their joint curtain call that changed every night, such as Wimp Fighting on their way back to the stage or swapping costumes.
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Beetlejuice (Theatre) / int_c75df49a	type	Shout-Out
Beetlejuice (Theatre) / int_c75df49a	comment	Shout-Out: Several, courtesy of Betelgeuse, but standouts include: Charles name-drops Lolita during "Creepy Old Guy". Later in the song, Betelgeuse exclaims "L'chaim! To life!", a reference to the song from Fiddler on the Roof, which also celebrated the marriage between an older man and a much younger girl. note Funnily enough, Adam Dannheiser - Charles in the OBC - joined this show fresh off of having played said older man, the impossibly-cool-named Lazar Wolf, though the circumstances in Fiddler are significantly less skeevy and the audience is never led to believe he'd be a "creepy old guy". His betrothed simply loves her childhood sweetheart instead. Lydia's mother's name, Emily, could be a reference to another Tim Burton character. When Betelgeuse parts way with Lydia at the end, he jokingly gushes, "I'm gonna miss you most of all, Scarecrow!"
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Beetlejuice (Theatre) / int_c7e7529c	type	Five Stages of Grief
Beetlejuice (Theatre) / int_c7e7529c	comment	Five Stages of Grief: Lydia goes through these, though she starts with depression instead of denial. Depression: Lydia's main mood throughout the first act, upset at her mother's passing and how she thinks her father is trying to ignore it and her. Anger: Lydia teaming up with the Maitlands and then Betelgeuse for revenge on her dad for getting engaged to Delia and ignoring her, and then acting out after BJ takes over the house. Denial/Bargaining: Spurred on by BJ's claim that there's a spell in the Handbook for calling ghosts from the Netherworld, Lydia attempts to use it—and Barbara begins to disintegrate. As a horrified Adam and Lydia look on, BJ gleefully spills the beans on his Batman Gambit—resentful of the fact that Lydia pushed him aside in favor of finding her dead mother, he tricked her into casting a spell for exorcising ghosts so he could extort Lydia for his own chance at life through marriage. High on his victory, BJ mocks Lydia, cruelly tells her that her mom's gone for good ("Once you go to the Netherworld, you don't come back!"), and Lydia's forced to agree to get him to stop the exorcism. Sadness: Just listen to "Home". Acceptance: After coming to terms with her father in the Netherworld, Lydia is able to pull herself together enough to out-con Betelgeuse and save everyone, becoming much happier in the process.
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Beetlejuice (Theatre) / int_c819533b	type	Rage Breaking Point
Beetlejuice (Theatre) / int_c819533b	comment	Rage Breaking Point: Lydia hits hers when the "Day-O" haunting ends up being a positive for her father, leading to her summoning Betelgeuse to make things go bad again.
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Beetlejuice (Theatre) / int_c93a6560	type	Impaled with Extreme Prejudice
Beetlejuice (Theatre) / int_c93a6560	comment	Impaled with Extreme Prejudice: Mere moments after he's resurrected, Lydia impales Betelgeuse through the chest with some of Delia's "Bad Art" in order to send him back to the Netherworld.
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Beetlejuice (Theatre) / int_cb7fda55	type	Minor Character, Major Song
Beetlejuice (Theatre) / int_cb7fda55	comment	Minor Character, Major Song: Miss Argentina's Netherworld number "What I Know Now". See Ascended Extra above.
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Beetlejuice (Theatre) / int_cc4b45f6	type	Word of God
Beetlejuice (Theatre) / int_cc4b45f6	comment	Word of God states that Betelgeuse is pansexual, as he constantly flirts with (and sometimes harasses) Barbara, Adam, and Delia, and right before "Creepy Old Guy" suggests a collective sexual activity between him and all the characters in the scene.
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Beetlejuice (Theatre) / int_d45c0b86	type	Refuge in Audacity
Beetlejuice (Theatre) / int_d45c0b86	comment	Refuge in Audacity: "Creepy Old Guy" starts with BJ not buying any of the con until things get so utterly over the top (both Maitlands coming onto him including Adam kissing him, wacky dance numbers, lots of Lydia laying it on thick) that he assumes that sure, Lydia absolutely wants to marry him and let him get what he wants because she is now perfectly okay with his green-card marriage. Why not? Beetlejuice continuously makes Adam uncomfortable with sexual assault. Once Adam does call out Beetlejuice and addresses the violation, it's to pretend that his advances worked to win him over.
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Beetlejuice (Theatre) / int_d500b978	type	Adaptational Wimp
Beetlejuice (Theatre) / int_d500b978	comment	Adaptational Wimp: The Maitlands are depicted as a squeaky clean and overly-polite suburban couple here whose only reason for crafting was to repress their fears of parenthood, and are much worse at scaring people than their movie counterparts (they were able to pull off some genuinely terrifying scares in the film, they just couldn't be seen).
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Beetlejuice (Theatre) / int_d7c3ba61	type	Race Lift
Beetlejuice (Theatre) / int_d7c3ba61	comment	Race Lift: The role of Otho is originated by Asian actor Kelvin Moon Loh. As of the 2022 reopening, Maxine Dean and Juno are both played by Zonya Love, who is Black. In the 2022 US Tour, Lydia Deetz is played by Isabella Esler, who is Colombian-American and Barbara is played by Britney Coleman, who is black. Because of this, the lyrics â€œBoth of you are super polite. middle class, suburban and white. well, all of that is finished tonight, Except for the white part Obviouslyâ€� was changed to â€œBoth of you are dead in the dirt, so Adam you should take off your shirt!â€� â€œwhy?!â€� â€œbecauseâ€¦pleaseâ€¦PLEASE!â€�
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Beetlejuice (Theatre) / int_d8afec40	type	â€¦But He Sounds Handsome
Beetlejuice (Theatre) / int_d8afec40	comment	â€¦But He Sounds Handsome: During "Say My Name," Betelgeuse possess the Maitlands and has them relentlessly praise him in order to convince Lydia to let him free.
Beetlejuice (Theatre) / int_d8afec40	featureApplicability	1.0
Beetlejuice (Theatre) / int_d8afec40	featureConfidence	1.0
Beetlejuice (Theatre)	hasFeature	Beetlejuice (Theatre) / int_d8afec40
Beetlejuice (Theatre) / int_d9fe8277	type	I'm Standing Right Here
Beetlejuice (Theatre) / int_d9fe8277	comment	In "Fright of Their Lives", Betelgeuse starts complaining about the Maitlands, leading to a I'm Standing Right Here moment. His response is that they're the rude ones because "actually, that was a soliloquy.â€�
Beetlejuice (Theatre) / int_d9fe8277	featureApplicability	1.0
Beetlejuice (Theatre) / int_d9fe8277	featureConfidence	1.0
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Beetlejuice (Theatre) / int_e0c470a1	type	The Fourth Wall Will Not Protect You
Beetlejuice (Theatre) / int_e0c470a1	comment	The Fourth Wall Will Not Protect You: In "The Whole 'Being Dead' Thing", Betelgeuse informs the audience that "if I hear your cell phone ringing, I'll kill you myself." Later in the same song, he says that "if you die during this performance, we're just gonna keep going".
Beetlejuice (Theatre) / int_e0c470a1	featureApplicability	1.0
Beetlejuice (Theatre) / int_e0c470a1	featureConfidence	1.0
Beetlejuice (Theatre)	hasFeature	Beetlejuice (Theatre) / int_e0c470a1
Beetlejuice (Theatre) / int_e0e52562	type	Loves the Sound of Screaming
Beetlejuice (Theatre) / int_e0e52562	comment	Loves the Sound of Screaming: "That Beautiful Sound": Lydia and Betelgeuse terrifying people while singing about how a scream is the sweetest noise that there is.
Beetlejuice (Theatre) / int_e0e52562	featureApplicability	1.0
Beetlejuice (Theatre) / int_e0e52562	featureConfidence	1.0
Beetlejuice (Theatre)	hasFeature	Beetlejuice (Theatre) / int_e0e52562
Beetlejuice (Theatre) / int_e16a12cb	type	Call a Human a "Meatbag"
Beetlejuice (Theatre) / int_e16a12cb	comment	Call a Human a "Meatbag": Betelgeuse often refers to the living as "breathers."
Beetlejuice (Theatre) / int_e16a12cb	featureApplicability	1.0
Beetlejuice (Theatre) / int_e16a12cb	featureConfidence	1.0
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Beetlejuice (Theatre) / int_e542d8c1	type	Goth
Beetlejuice (Theatre) / int_e542d8c1	comment	Goth: Lydia, who's still mourning her deceased mother and is depressed. Becomes a Perky Goth after BJ takes over the house.
Beetlejuice (Theatre) / int_e542d8c1	featureApplicability	1.0
Beetlejuice (Theatre) / int_e542d8c1	featureConfidence	1.0
Beetlejuice (Theatre)	hasFeature	Beetlejuice (Theatre) / int_e542d8c1
Beetlejuice (Theatre) / int_e8ca5cb3	type	Freudian Slip
Beetlejuice (Theatre) / int_e8ca5cb3	comment	Freudian Slip: Betelgeuse does this about murder a lot.
Beetlejuice (Theatre) / int_e8ca5cb3	featureApplicability	1.0
Beetlejuice (Theatre) / int_e8ca5cb3	featureConfidence	1.0
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Beetlejuice (Theatre) / int_eaa10414	type	Misspelling Out Loud
Beetlejuice (Theatre) / int_eaa10414	comment	Misspelling Out Loud: During "The Whole 'Being Dead' Thing, Part 2", Betelgeuse says "I'm the B to the double-E, J-F-Q, and Jesus, I can't spell!" He gets it right the second time, though.
Beetlejuice (Theatre) / int_eaa10414	featureApplicability	1.0
Beetlejuice (Theatre) / int_eaa10414	featureConfidence	1.0
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Beetlejuice (Theatre) / int_eb81c601	type	Big Damn Heroes
Beetlejuice (Theatre) / int_eb81c601	comment	Big Damn Heroes: Before Juno gets the chance to kill the Deetzes, but Betelgeuse rides in on the sandworm and allows it to devour Juno, ultimately saving their lives.
Beetlejuice (Theatre) / int_eb81c601	featureApplicability	1.0
Beetlejuice (Theatre) / int_eb81c601	featureConfidence	1.0
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Beetlejuice (Theatre) / int_eef90616	type	Bread, Eggs, Milk, Squick
Beetlejuice (Theatre) / int_eef90616	comment	Bread, Eggs, Milk, Squick: Near the beginning, Betelgeuse says all he wants is for someone to look his way and say "hey, I see you, I accept you, I fear for my safety around you".
Beetlejuice (Theatre) / int_eef90616	featureApplicability	1.0
Beetlejuice (Theatre) / int_eef90616	featureConfidence	1.0
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Beetlejuice (Theatre) / int_f0c4ce7d	type	The Lost Lenore
Beetlejuice (Theatre) / int_f0c4ce7d	comment	The Lost Lenore: Lydia's dead mom, Emily, is a Missing Mom variation that she treats more like a maternal version of this (with even Barbara, who is herself dead, quietly offering her sympathies when she learns about Emily's death). Turns out she's a straightforward version of this for Charles, too, but it hurts him too much to talk about her until the end.
Beetlejuice (Theatre) / int_f0c4ce7d	featureApplicability	1.0
Beetlejuice (Theatre) / int_f0c4ce7d	featureConfidence	1.0
Beetlejuice (Theatre)	hasFeature	Beetlejuice (Theatre) / int_f0c4ce7d
Beetlejuice (Theatre) / int_f2d8e3c2	type	Evil Plan
Beetlejuice (Theatre) / int_f2d8e3c2	comment	When Betelgeuse meets the Maitlands for the first time, he asks Adam how he got Barbara to marry him. Later, it's revealed that his Evil Plan is to force Lydia into a green card marriage that will make him alive, though it's unlikely that he had planned this from the start.
Beetlejuice (Theatre) / int_f2d8e3c2	featureApplicability	1.0
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Beetlejuice (Theatre)	hasFeature	Beetlejuice (Theatre) / int_f2d8e3c2
Beetlejuice (Theatre) / int_f3fd818b	type	Dark Reprise
Beetlejuice (Theatre) / int_f3fd818b	comment	"The Whole 'Being Dead' Thing" Part 3" is essentially a Dark Reprise of the first song, where Betelgeuse betrays Lydia and finally unveils his Evil Plan.
Beetlejuice (Theatre) / int_f3fd818b	featureApplicability	1.0
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Beetlejuice (Theatre) / int_f642b1f9	type	You Bastard!
Beetlejuice (Theatre) / int_f642b1f9	comment	You Bastard!: Played for laughs right after "Ready Set, Not Yet"; the song ends with Adam and Barbara falling through the floor of their house and dying. When the song ends, the audience gives their applause, and Betelgeuse is surprised that they enjoyed watching the Maitlands die.
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Beetlejuice (Theatre) / int_f96f1522	type	Sadistic Game Show
Beetlejuice (Theatre) / int_f96f1522	comment	Sadistic Game Show: Betelgeuse hosts one of these during Act 2, called "Life or Death." He even dons a flashy suit not unlike what you might see a game show host wear.
Beetlejuice (Theatre) / int_f96f1522	featureApplicability	1.0
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Beetlejuice (Theatre) / int_f9f2c33	type	Running Gag
Beetlejuice (Theatre) / int_f9f2c33	comment	Running Gag: Betelgeuse continuously flirting with Adam. At the beginning, Betelgeuse will point out a random guy in the audience... and then continue to reference him for the rest of the show.
Beetlejuice (Theatre) / int_f9f2c33	featureApplicability	1.0
Beetlejuice (Theatre) / int_f9f2c33	featureConfidence	1.0
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Beetlejuice (Theatre) / int_ff7f34c5	type	Pet the Dog
Beetlejuice (Theatre) / int_ff7f34c5	comment	In the movie, Betelgeuse's sole moment of empathy is when Lydia confesses she's suicidal, and he replies with a surprised "why?" offering to talk to her if she frees him. In this version, while he does save Lydia from her suicide attempt, he doesn't do so out of empathy, but because Lydia can see him and therefore break his curse.
Beetlejuice (Theatre) / int_ff7f34c5	featureApplicability	1.0
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Beetlejuice (Theatre) / int_ffd5b598	type	The Song Before the Storm
Beetlejuice (Theatre) / int_ffd5b598	comment	The Song Before the Storm: "Day-O" serves as this before Lydia, realizing that the haunting is making things worse for her, summons Betlegeuse.
Beetlejuice (Theatre) / int_ffd5b598	featureApplicability	1.0
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Beetlejuice (Theatre) / int_name	type	ItemName
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Beetlejuice (Theatre)	hasFeature	Beetlejuice (Theatre) / int_name
Beetlejuice (Theatre) / int_name	itemName	Beetlejuice (Theatre)

The following is a list of statements referring to the current page from other pages.

Beetlejuice (Theatre)	hasFeature	Afterlife Angst / int_da90986c
Beetlejuice (Theatre)	hasFeature	Ambiguously Jewish / int_da90986c
Beetlejuice (Theatre)	hasFeature	Arc Words / int_da90986c
Beetlejuice (Theatre)	hasFeature	Call a Human a "Meatbag" / int_da90986c
Beetlejuice (Theatre)	hasFeature	Citizenship Marriage / int_da90986c
Beetlejuice (Theatre)	hasFeature	Cut Song / int_da90986c
Beetlejuice (Theatre)	hasFeature	Dawson Casting / int_da90986c
Beetlejuice (Theatre)	hasFeature	Death Is a Sad Thing / int_da90986c
Beetlejuice (Theatre)	hasFeature	Deceased Parents Are the Best / int_da90986c
Beetlejuice (Theatre)	hasFeature	Dies Differently in Adaptation / int_da90986c
Beetlejuice (Theatre)	hasFeature	"Everybody Helps Out" Denouement / int_da90986c
Beetlejuice (Theatre)	hasFeature	Evolving Music / int_da90986c
Beetlejuice (Theatre)	hasFeature	Fan Animation / int_da90986c
Beetlejuice (Theatre)	hasFeature	Felony Misdemeanor / int_da90986c
Beetlejuice (Theatre)	hasFeature	Fitness Nut / int_da90986c
Beetlejuice (Theatre)	hasFeature	"Gender-Normative Parent" Plot / int_da90986c
Beetlejuice (Theatre)	hasFeature	Ghost Song / int_da90986c
Beetlejuice (Theatre)	hasFeature	Haunted Heroine / int_da90986c
Beetlejuice (Theatre)	hasFeature	I Miss Mom / int_da90986c
Beetlejuice (Theatre)	hasFeature	I'm Standing Right Here / int_da90986c
Beetlejuice (Theatre)	hasFeature	It Tastes Like Feet / int_da90986c
Beetlejuice (Theatre)	hasFeature	Kids Punishing Parents / int_da90986c
Beetlejuice (Theatre)	hasFeature	Last-Second Word Swap / int_da90986c
Beetlejuice (Theatre)	hasFeature	Life-Affirming Aesop / int_da90986c
Beetlejuice (Theatre)	hasFeature	Loves the Sound of Screaming / int_da90986c
Beetlejuice (Theatre)	hasFeature	Meaningless Villain Victory / int_da90986c
Beetlejuice (Theatre)	hasFeature	Missing Mom / int_da90986c
Beetlejuice (Theatre)	hasFeature	Misspelling Out Loud / int_da90986c
Beetlejuice (Theatre)	hasFeature	"No Talking or Phones" Warning / int_da90986c
Beetlejuice (Theatre)	hasFeature	Old Man Marrying a Child / int_da90986c
Beetlejuice (Theatre)	hasFeature	Parental Love Song / int_da90986c
Beetlejuice (Theatre)	hasFeature	People Puppets / int_da90986c
Beetlejuice (Theatre)	hasFeature	Related in the Adaptation / int_da90986c
Beetlejuice (Theatre)	hasFeature	Science Is Wrong / int_da90986c
Beetlejuice (Theatre)	hasFeature	Screwed by the Network / int_da90986c
Beetlejuice (Theatre)	hasFeature	Show Stopper / int_da90986c
Beetlejuice (Theatre)	hasFeature	Spared by the Adaptation / int_da90986c
Beetlejuice (Theatre)	hasFeature	Starts with Their Funeral / int_da90986c
Beetlejuice (Theatre)	hasFeature	The Nothing After Death / int_da90986c
Beetlejuice (Theatre)	hasFeature	Theatre of the 2010s / int_da90986c
Beetlejuice (Theatre)	hasFeature	There's No Place Like Home / int_da90986c
Beetlejuice (Theatre)	hasFeature	Transforming Conforming / int_da90986c
Beetlejuice (Theatre)	hasFeature	Triumphant Reprise / int_da90986c
Beetlejuice (Theatre)	hasFeature	Un-Canceled / int_da90986c
Beetlejuice (Theatre)	hasFeature	We All Die Someday / int_da90986c

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