Beetlejuice The Musical Tickets at the Prince Edward Theatre
Beetlejuice The Musical plays at the Prince Edward Theatre on Old Compton Street, in the middle of Soho, until 2 January 2027. It was due to run to April, but the producers have brought the closing forward, and Miss Saigon returns to the theatre in May 2027.
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Who's Beetlejuice The Musical For?
Anyone who wants a big design-led night out. This is the show with the giant sandworm, the puppets, the projections and the roast pig that sits bolt upright at the dinner table. The design is the thing every critic praised and it is what the ticket buys.
People who know the 1988 film and want it staged bigger and ruder. Everything you remember is in it, and Beetlejuice himself is in a great deal more of it.
Anyone who already knows Say My Name. There were people in at the first week who knew every word of it, and the show plays to them.
Not for you if you want a score you will hum on the way home. The critics were near-unanimous on that one.
Not for children, even though the poster looks like it probably is. The guidance is 12+ with adult supervision and there is more on that in the FAQs below.
What Tickets Cost
Tickets start from around £30 at a midweek performance. The same cheapest band sits at around £40 at the weekend, so a flexible date is worth real money on this one.
Most seats for Beetlejuice sell for somewhere between around £50 and around £100. Premium seats start from around £120, and the top of the range runs to around £180 midweek and around £200 at the weekend.
The cheap end and the expensive end are different parts of the theatre rather than different rows of the same one. The bottom band is the far ends of the rows and the Grand Circle slips, which curve round to the side. The top band is the middle of the Dress Circle and the middle of the Stalls.
Selected performances this autumn are Netherworld Performances, and every ticket in the theatre on those dates is £30, £40 or £50.
Call us on 020 7193 9050 and we will tell you which dates those are and what is actually available on yours.
About Beetlejuice The Musical at the Prince Edward Theatre
It took almost seven years to get here. The stage version was first put on in Washington DC in 2018, opened on Broadway in 2019, and picked up eight Tony nominations including Best Musical. It won none of them, and the pandemic closed it before it could build a longer run.
The London production has been rewritten for a London audience. There is material on the NHS, on James Corden, on hipster vapes, on Andrew Lloyd Webber's decapitated head, and two extended and very rude attacks on Paddington. If you have watched a recording of the Broadway show, there are similar jokes, but just aimed at a British audience.
The design carries the same names as Broadway. David Korins, who designed Hamilton, did the set. Michael Curry, who made the puppets for The Lion King, made the sandworm. William Ivey Long did the costumes, and the special effects are by Jeremy Chernick, who does them for Harry Potter and the Cursed Child. Alex Timbers directs.
Performance Schedule
The show plays Monday to Saturday, with two matinees a week. There is no Sunday performance.
| Day | Matinee | Evening |
|---|---|---|
| Monday | 7:30pm | |
| Tuesday | 7:30pm | |
| Wednesday | 7:30pm | |
| Thursday | 7:30pm | |
| Friday | 2:30pm | 7:30pm |
| Saturday | 2:30pm | 7:30pm |
| Sunday | - | - |
Matinees moved from 3pm to 2:30pm on 24 July 2026, so anything still showing a 3pm start is out of date.
Christmas and New Year run to a different pattern, and the Sunday is the one that catches people out. There are no performances on 24, 25 or 31 December, or on 3 January. Sunday 27 December plays twice, at 2:30pm and 7:30pm, and it is the only Sunday in the whole run that plays at all.
Best Seats for Beetlejuice The Musical
The centre of the Dress Circle, rows B to E. Both levels are good at this theatre and price usually decides it, but this production tilts the answer upwards: a lot of the action is staged high on a rooftop set, and you see more of it from the Circle than from close in.
The front of the Grand Circle is a good bet too when it is priced right, because it gets you the same height for less.
The Stalls are the better bet for legroom, and the centre of the Stalls is a good seat by any measure. Row A is the front row for this production, because the extra row the theatre can add at the very front is not in for Beetlejuice.
One thing to know about the front of the Stalls before you book it. Beetlejuice narrates the show straight out to the audience and, in the Times's phrase, lobs gags into the Stalls. If being spoken to is the reason you would sit there, sit there. If it is the reason you would not, sit further back. Some people like the interaction. Some people don't.
Dress Circle row A has a wall in front of it, so take row B first. The wall stops you going over the edge and there are often lights mounted on it, which means shorter people cannot see over it and taller people are looking past the rig.
Every level, the Loges, the slips and the Boxes are broken down in our Prince Edward Theatre guide.
Call us on 020 7193 9050 and we will find the best seat available for your budget.
Cast and Creative Team
David Fynn plays Beetlejuice. Hannah Nordberg plays Lydia Deetz, in her West End debut, having been cast through a social media open call.
David Hunter and Chelsea Halfpenny play Adam and Barbara Maitland, and Alasdair Harvey plays Charles Deetz. Summer Strallen plays Delia until 31 October, and Aimie Atkinson returns to the role from 2 November.
Eddie Perfect wrote the score. Alex Timbers directs, and the full creative list is in the Cast and Creatives tab.
Book Beetlejuice The Musical Tickets
Tickets from around £30, with most seats around £50 to around £100. All-in pricing, so the price you see is what you pay.
Book tickets • Call us on 020 7193 9050
Dates & tickets
FAQs
The Prince Edward Theatre on Old Compton Street, W1D 4HS, in the middle of Soho. Four minutes on foot from Tottenham Court Road, five from Leicester Square.
The last performance is on 2 January 2027. It was announced as a season running to 17 April, and the producers have since brought the closing forward by more than three months, so this is a firm end date rather than a booking horizon.
2 hours 40 minutes, including one interval.
An evening performance starts at 7:30pm and is out at about 10:10pm. The Friday and Saturday matinees go up at 2:30pm, which puts you back onto Old Compton Street around 5:10pm.
There is no age rating as such, because a stage show carries no certificate the way a film does. The producers advise 12+ with adult supervision. The film is a PG-13 cult favourite and the stage version is considerably ruder.
Strong language throughout, including the f-word. Jokes about cocaine and drug taking. Adult humour, some of it about sex and some of it about a much older man behaving badly around a teenage girl. Death, grief and bereavement all the way through, since the girl at the centre of it has just lost her mother. And on the technical side, strobe and flashing lights, smoke, haze and loud noises.
Everyone needs their own ticket whatever their age, so there is no sitting a small child on a lap. Under-16s have to be seated next to a ticketholder who is at least 18, and under-3s are not admitted at all.
The story is the same and the scenes you remember are in it. The balance is completely different. In the film Beetlejuice is on screen for 17 minutes; on stage he hosts and narrates the whole evening, talking to the audience from the opening number onwards. The show also puts Lydia at the centre rather than the Maitlands. You do not need to have seen the film to follow any of it, because Beetlejuice narrates the evening and sets everything up as it goes.
There is a wedding, and the show knows exactly how uncomfortable it is: Beetlejuice is several hundred years older than Lydia and insists it is a visa wedding. How it resolves is not something to give away here!
David Fynn. Tom Xander takes the role at some performances as the alternate.
Eddie Perfect wrote the music and lyrics. Scott Brown and Anthony King wrote the book. It is adapted from Tim Burton's 1988 film.
Not yet. It was nominated for eight Tony Awards in 2019, including Best Musical, and did not win any of them.
Say My Name, Dead Mom, Barbara 2.0 and the show's own staging of Day-O, the Banana Boat Song from the film's dinner party scene. Jump in the Line closes the night, in a finale medley that brings Day-O back with it.
The critics agreed with each other more than they usually do, and what they agreed on was good rather than great. No national went above three stars. The full picture is in the News and Reviews tab.
The middle of the Dress Circle, because of how high up the rooftop scenes are staged. The middle of the Stalls is the other answer we give, and it has more legroom.
Accessible seating and the venue's access scheme are handled by the Prince Edward's own team rather than by us. The contacts and the full picture of the building, including which levels have stairs, are in our Prince Edward Theatre guide.
Tickets and Best Seats for Beetlejuice The Musical
The Prince Edward Theatre holds 1,674 for this production, over three levels, plus ten Loges, the slips and the Boxes. The Stalls is much the biggest of the three.
Three things about the seating are specific to Beetlejuice rather than to the building.
The rooftop set sits high. More of this show is played up there than you would expect, and it is the one argument for taking the Dress Circle over the Stalls at a theatre where the two levels are usually a straight price decision. The centre of the Dress Circle, rows B to E, is the pick.
The front of the Stalls gets talked to. Beetlejuice narrates straight out at the audience and aims material into the Stalls all evening. That is a selling point for some people and a reason to move back a few rows for others.
There is no Stalls row AA, but there will be for Miss Saigon when it opens. Row A is the front row. The theatre adds an extra row at the very front for its next production, and a seating plan showing one is not this show's plan.
On price, the useful thing at this theatre is that the cheap seats and the expensive seats are in different parts of the building rather than different rows of the same part. Paying up moves you into the middle of a level. Paying down moves you to the ends of the rows or round the curve of the Grand Circle. The bands themselves are in What Tickets Cost, in the Overview.
Everything else about where to sit here, level by level, including the Loges and the slips, is in our Prince Edward Theatre guide.
Call us on 020 7193 9050 and we will talk you through what is left on your date.
Seating plan
Dates & tickets
Booking now
Getting to the Prince Edward Theatre
The Prince Edward Theatre is on Old Compton Street, London W1D 4HS, in Soho.
Tottenham Court Road is four minutes away and Leicester Square five, so take whichever sits on the line you are already on. Both are well served.
Arrive 20 to 30 minutes before, no later. The entrance is narrow for a theatre this size, there are security checks on the way in, and there are 1,674 people to get through one door. If you do miss the start, latecomers are held until a suitable break rather than shown straight in.
The Grand Circle is 42 steps up to the front and 72 to the back, with no lift, so if that is your level give yourself the longer end of that arrival window. The foyer lift reaches the Stalls, which sit below street level.
The Box Office opens 2 hours 30 minutes before the performance and stays open until 15 minutes after curtain up. On a matinee day it does not close between the two performances.
Parking, the bars, the cloakroom rules and everywhere worth eating nearby are all in our Prince Edward Theatre guide.
Address
Old Compton Street, London W1D 4HS
Nearest Tube
Leicester Square and Tottenham Court Road
Beetlejuice The Musical Cast
| Role | Performer |
|---|---|
| Beetlejuice | David Fynn |
| Alternate Beetlejuice | Tom Xander |
| Lydia Deetz | Hannah Nordberg |
| Adam Maitland | David Hunter |
| Barbara Maitland | Chelsea Halfpenny |
| Charles Deetz | Alasdair Harvey |
| Delia Deetz | Summer Strallen to 31 October, then Aimie Atkinson from 2 November |
| Maxine Dean / Juno | Chasity Crisp |
| Otho | Richard Frame |
| Miss Argentina | Vanessa Aurora Sierra |
David Fynn played Dewey Finn in School of Rock in the West End and was nominated for an Olivier Award for it. Tom Xander, who plays Beetlejuice at some performances as the alternate, was in Mean Girls.
Hannah Nordberg is making her West End debut. She was cast through an open call run on social media, and she is the performer every review singled out, including the least enthusiastic one.
David Hunter was in Waitress and Chelsea Halfpenny in 9 to 5. Aimie Atkinson, who returns as Delia on 2 November, originated Katherine Howard in SIX and played Vivian in Pretty Woman.
Creative team
Music and lyrics by Eddie Perfect. Book by Scott Brown and Anthony King, from the 1988 film by Tim Burton.
Directed by Alex Timbers, a two-time Tony winner whose other work includes Moulin Rouge! The Musical and Just in Time.
Set by David Korins. Costumes by William Ivey Long. Puppets by Michael Curry. Special effects by Jeremy Chernick, illusions by Michael Weber, lighting by Kenneth Posner, video and projection by Peter Nigrini, hair and wigs by Charles G LaPointe. Choreography by Connor Gallagher. Music supervision and orchestrations by Kris Kukul. Sound by Peter Hylenski.
Beetlejuice The Musical Reviews
Press night was 28 May 2026, and the critics came out of it agreeing with each other to an unusual degree. No national newspaper went above three stars and only The Stage went below, at two.
They agreed on what was good. The cast is excellent and the design is a spectacle: the Guardian called the designs drop-dead gorgeous and praised the lighting, the projections, the illusions and the puppets, and the Telegraph described a beautiful sense of hallucinogenic spectacle and a fittingly ridiculous giant sandworm.
They agreed on what was not. The score does not stay with you. The Guardian found the numbers entertaining but oddly unmemorable and signed off with "enjoy the sandworm, just don't expect earworms". The Telegraph heard generic rock and Broadway pastiche going in one ear and out the other. The Independent called it fun without being distinctive. The exception, and WhatsOnStage made the case for it, is Say My Name, which already has an audience who know every word.
Hannah Nordberg was praised by every one of them, the two-star review included, with Dead Mom the number they kept naming.
The same piece of staging came back at them over and over: numbers that finish in front of a curtain while the set is changed behind it. WhatsOnStage went further than the rest and named a cause, which is that the London set is a cheaper build than the Broadway one was.
The London rewrite divided them. The Telegraph found the swearing, the smut and the local in-jokes to be overkill. The Independent wrote that when Beetlejuice attacks Paddington it feels like the full weight of the British establishment is ready to bazooka the theatre. WhatsOnStage reported huge laughs and quite a few gasps in the same moment.
The best single line about this production came from a critic who gave it three stars. The Telegraph's reviewer wrote that if much of it left him cold, he also felt like the spectre at the feast, because the audience around him audibly loved it.
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Beetlejuice
Prince Edward Theatre
