[2] It reopened at the Marquis Theatre on Broadway on April 8, 2022, and closed on January 8, 2023; a US national tour of the production began in December 2022.

[3] In 2016, a musical adaptation of the 1988 film Beetlejuice (directed by Tim Burton and starring Geena Davis as Barbara Maitland, Alec Baldwin as Adam Maitland, Winona Ryder as Lydia Deetz and Michael Keaton as Beetlejuice) was reported to be in the works, directed by Alex Timbers and produced by Warner Bros., following a reading with Christopher Fitzgerald in the title role.

[4] The musical had three readings and two workshops with Alex Brightman in the title role, Sophia Anne Caruso as Lydia Deetz and Kerry Butler and Rob McClure as the Maitlands.

Emily's daughter, Lydia, reflects on the death of her mother and her own inability to be noticed by her father, Charles ("Prologue: Invisible").

A millennia-old demon named Beetlejuice appears and mocks the idea of living life to the fullest, as it will all be worthless once death comes ("The Whole 'Being Dead' Thing").

Beetlejuice then introduces Adam and Barbara Maitland, a normal married couple who desperately want to start a family, who are not emotionally ready and project their insecurities onto their hobbies.

While moving in, Charles reveals to Lydia that he wants to start a gated community, using the house as a flagship model home, and is holding a dinner party with some business friends.

Praying for her to send a sign that she is still there, Lydia vows to make her father acknowledge the fact that tragedy struck their family ("Dead Mom").

Feeling as if Charles is just trying to replace her mother, Lydia flees to the roof, considering suicide, where a depressed Beetlejuice laments that he will never be seen ("Invisible" (reprise)).

Now visible to the living and able to affect the world around him, he forces the Maitlands to the attic before throwing Charles, Delia, and the investors out of the house, much to Lydia's joy.

Feeling alone and betrayed again, Beetlejuice talks with his clones about how he wants to leave the house to finally connect with people now that he can be seen.

To achieve this, he decides to trick Lydia into marrying him, which will allow him to roam free in the living world ("That Beautiful Sound" (reprise)).

[9][10] The cast included Alex Brightman in the title role alongside Sophia Anne Caruso as Lydia,[11] Kerry Butler and Rob McClure as Barbara and Adam, Leslie Kritzer and Adam Dannheisser as Delia and Charles, Jill Abramovitz and Danny Rutigliano as Maxine and Maxie, and Kelvin Moon Loh as Otho.

[15] Due to a contractual commitment with the theatre to make room for a revival of The Music Man, the production was scheduled to close at the Winter Garden on June 6, 2020.

[21] Justin Collette plays the title role, with Isabella Esler as Lydia, Britney Coleman as Barbara, and Will Burton as Adam; Timbers again directed and Gallagher choreographed.

[28] A Brazilian production began performances at the Cidade das Artes in Rio de Janeiro, Brazil, on October 6, 2023, and was set to play until December 10, 2023.

The production is directed by Renata Borges Pimenta in a translation by Claudio Botelho and stars Eduardo Sterblitch in the title role.

[37][38] Ben Brantley, in The New York Times, wrote: "Invisibility is definitely not among this show's problems; overcompensating from the fear that it might lose an audience with a limited attention span is.

Though it features a jaw-droppingly well-appointed gothic funhouse set (by David Korins, lighted by Kenneth Posner), replete with spooky surprises, this show so overstuffs itself with gags, one-liners and visual diversions that you shut down from sensory overload.

"[39] Sara Holdren, in New York Vulture, wrote that the show "openly embraces the theme park-y aspects of an enterprise like the one it's engaged in.

It's also – thanks in large part to Alex Brightman's spot-on performance as the incorrigible titular ghoul – a pretty fun time.

"[40] Nick Romano from Entertainment Weekly commented that the musical "was crafted from a group of creative minds who clearly love the source material, though not all of it works.

This reworked incarnation, under Alex Timbers's direction, breathes slightly more enjoyably even as it remains too faithful to the pumped-up inclinations of book writers Scott Brown and Anthony King and composer-lyricist Eddie Perfect.

This means that the eager-to-please quotient of a musical about the quest by a bevy of souls, alive and dead, to alleviate loneliness, is still amped up a bit too frantically.

This may be of more concern to overly entertained theater analysts than to those musical-theater enthusiasts who thrive on the supercharged exertions of an ensemble on hyperdrive.