A theatre stage set photographed during a performance of Beetlejuice The Musical, lit in vivid pink, blue, and green stage lighting. At the centre of the stage hangs an illuminated red neon sign reading "Betelgeuse," styled like a vintage marquee, with a flashing chevron arrow beneath it pointing diagonally downward. A large blue rectangular frame structure surrounds the scene, with patterned dark curtains visible behind. Silhouettes of audience members' heads are visible in the foreground, with some holding up phones to photograph the stage.

The Betelgeuse sign lights up the stage in neon.

I’m not sure how we ended up seeing so much theatre recently, but tonight we went to see the West End transfer of Beetlejuice The Musical.

Based on the film but not the same, the musical makes Beetlejuice the main onstage character, and Lydia (played by Hannah Nordberg) has a more developed story arc, mourning her dead mother, than happens in the film.

Mainly, it’s a funny show that breaks the fourth wall and talks to the audience, with plenty of contemporary references and a Radio 2 tote bag. This may seem odd, and I had to look it up. In London, this is used in place of the NPR equivalent in US productions. Having a demon offer the tote bag as a symbol of the underworld to middle-class theatregoers is a bit of fun poked at the stalls; it stands out as both ridiculous and charming. Very much like the whole production.

David Fynn (who we last saw in School of Rock) was excellent as Beetlejuice. He has a real stage-filling presence and has a much bigger role than the character does in the film, holding the whole plot together and breaking the fourth wall to talk to the audience. The staging changes frequently, perhaps too frequently, but is quite impressive. The music, however, is a little less memorable. Predictably, the easily remembered songs are those used in the film, originally by Harry Belafonte: Day-O (The Banana Boat Song) and Jump in the Line, which are what stick with you.

I thought Creepy Old Guy in Act Two was clever as it pokes fun at the source film’s plot device of having a centuries-old demon trying to marry a teenager. Dead Mom is delivered by some great vocals, and should be the emotional heart of the show, but writing this now, I only remember the song with the memory of the performance. Maybe I need to hear it again.

Don’t let that put you off. This is a self-referential, self-aware musical with comic bits and songs, meant to be enjoyed in the moment.

Go back three times if you dare.