BEETLEJUICE JR: Mother Margaret Mary

Read the Top 5 Reviews! All reviews are written by high school students in the Edmonton and surrounding area.

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Refusing Invisibility

By Hunter Lafleur

M.E Lazerte High School

Where the unseen demand recognition and the visible struggle to be understood. Mother Margaret Mary's Beetlejuice Jr. written by Eddie Perfect and intricately directed by Andi Molloy is a production that redefines the boundaries of performance. From the outset, Beetlejuice Jr. transforms its stage into a surreal landscape, where the barrier between spectator and performer dissolves, positioning the audience within the performance itself and reinforcing its narrative of being seen.

One key element of Beetlejuice Jr was its deliberate reimagining of its performance space. Rather than working within the fixed limitations of a school gymnasium, the production actively transformed its environment into something fluid and unpredictable, using stylized and slightly grotesque visual design and off-kilter set pieces to evoke the surreal visual world of Tim Burton. The production also made effective use of entrances and exits. At times, the ensemble encircled the audience in a choral formation, creating a more immersive and spatially dynamic stage, which blurred the boundary between spectator

and performer. This directorial choice deepened the audience's connection with the theme of visibility and being seen, as they were positioned as part of the performance itself.

One notable performance to spotlight is Kylie Flanders’ portrayal of Otho, who demonstrated strong control over Otho's contrasting physical dynamics via dance-based movement. As a triple threat actor, Flanders integrated intentional acting, strong vocal quality, and dance to create a cohesive character. Through exaggerated gestures, and controlled posture shifts, she moved between restrained composed physicality and heightened stylised movement allowing the audience to fully understand the character’s

theatrical and performative nature. Flanders’ participation in dance sequences also contributed to the overall visual language of the production, particularly in ensemble dance numbers where her stylized timing, rhythmic precision and exaggerated physical positions helped build the surreal and intensified world of Beetlejuice Jr. Reflecting the performance style that prefers theatrical exaggeration over naturalistic movement.

The technical design elements of Beetlejuice Jr. were strong examples of student-led ingenuity. With 150 lighting and 65 sound cues, Olwen Klug and Joy Muzongwe, who only had two days to channel, patch, and cue the system, effectively conducted the audience through transitions between the netherworld and overworld with symbolic colour shifts, changes in intensity, and layered sound cues to distinguish each location. Hair and makeup leads Izzy Labossiere and Shanaya De Saram utilised bold makeup techniques such as exaggerated contouring and high-contrast facial detailing on characters such as Beetlejuice and Miss Argentina in order to reinforce Burton-esque visual style and distinguish human characters from characters who are anything but.

Taken together, Beetlejuice Jr. redefines what it means to be seen by including not only its disciplined company, but also its dedicated audience. The cast and crew created a show that was both technically complex and emotionally resonant. Through its immersive staging, stylized design, and the deliberate use of space. In the end Beetlejuice Jr. ensures that no one, performer or spectator, remains unseen.

“Welcome to a Show About Death!” Mother Margaret Mary’s Beetlejuice Jr.

By Summer Maybank

Archbishop MacDonald Catholic High School

Despite being a show about “the whole being dead thing,” Mother Margaret Mary managed to bring the whole audience to life with their incredible production of Beetlejuice Jr. Capturing perfectly the spooky, exaggerated, and colourful world of Tim Burton’s original Beetlejuice movie (1988), Mother Margaret Mary expertly navigated this complicated and ambitious show. Through the land of the living to the Netherworld, the audience was at the edge of their seats laughing, cheering, and completely swept off their feet.

One aspect of this show that deserves all the praise in the world is this show’s stunning

costumes. With a team of only three people, Lynette Tom (also playing Lydia Deetz), Keira

Flanagan, and Giselle Owusu perfectly embodied the soul of Beetlejuice Jr. through their

costume design and creation. From the moment Lydia walked onstage in her impeccably

teenage gothic outfit, it was adamant that so much time, effort, and care had gone into the

costumes of this show. Beetlejuice’s classic striped suit was incredibly done, with even more

show-stopping costumes such as Lydia’s red wedding dress and Miss Argentina’s fabulous gown. One extraordinary set of costumes was those of the dead in “What I Know Now.” With an ensemble dressed in costumes that had been adorned with burn marks, blood stains, and rips and tears, the commitment to these costumes was staggering. One cast member with a burnt coat was even carrying an actual toaster with them for the whole scene. The costumes of this show elevated this production one hundred-fold and left the audience completely blown away.

Another feature about Beetlejuice Jr. that also contributed to how spectacular this show was

was their expert involvement/use of the audience and breaking of the fourth wall. So often it can be awkward or strange when actors on stage come into the audience or interact with them, but Mother Margaret Mary executed this flawlessly. Particularly Beetlejuice, played by Nate Cook, left the audience roaring with laughter whenever he interacted smoothly with the crowd — he even started the show sitting in the audience. Throughout the production, cast members would run through the crowd and even surround the audience entirely, as they did in the number “Home,” creating an absolutely incredible surround-sound effect. This seamless use of the audience in this show was unique and expertly executed, truly bringing the audience into the world they had beautifully created.

So many elements of this production were mind blowing — Nate Cook’s insane vocal ability to perform Beetlejuice’s classic raspy voice, Pamela Anusiem’s stunning vocals, the skillful comedic timing of each actor, and the truly, truly incredible ensemble. One cast member who particularly stood out was Kylie Flanders’ performance as both Otho and a standout ensemble member – Flanders’ performance was truly immersive and hilarious.

Every single cast, crew, and tech member of this production deserves to be so proud of

themselves for this wonderful, breathtaking, and “strange and unusual” show they gave to the audience that night.

Beetlejuice, Beetlejuice, Beautifully Beguiling!

By Mikaela Cabalo

Oscar Romero Catholic High School

Is there life after death, or a soul that persists? If so, it might not be as solemn as one could expect. Mother Margaret Mary’s production of Beetlejuice Jr. was certainly full of heart and soul, showcasing a comedic afterlife in which personality and spirit continue in eccentric, bizarre, and absolutely kooky ghostly forms.

Beetlejuice premiered in 2018 as a musical adaptation of Tim Burton’s 1998 film. The

high-energy comedy explores Lydia Deetz’s journey through grief as she isolates herself from others and becomes drawn to the paranormal after her mother’s death, especially once she encounters ghosts that haunt her new house. She forms an adversarial relationship with a ghost named Beetlejuice in order to regain control of her life, but he quickly spirals out of her control, forcing her to confront her grief, take responsibility for her actions, and learn the importance of truly living.

Rivetingly vivacious was Nate Cook (Beetlejuice) who was a master of comedy, scarer of crowds, and conductor of mischief at all times throughout the show. Despite portraying a dead character, Cook was admirably full of life, using every limb to chaotically carry the story along. From the moment he stepped on stage to the second the show ended, he consistently commanded the audience’s attention, perfectly capturing the chaotic essence of his character. Cook’s innovation, precision, and dedication shone brightly in his gravelly voice, well-crafted body language, and impeccable comedic timing, expertly demonstrating that it doesn’t just take natural talent to be a great actor, but skill and discipline do.

Pamela Anusiem and Xavier Dackiw as the newly dead Barbara and Adam Maitland were

marvelous to watch as they brought charm and humor to their roles, capturing the couple’s

confusion as they adjusted to life as ghosts. Anusiem’s smooth vibrato and Dackiw’s energetic persona left the audience craving to see more. Jack Suitor and Neha Paul as the newlywed Charles Deetz and Delia Schlimmer delivered memorable performances that moved the audience with their emotional depth and authentic line delivery. On stage, Suitor and Paul did not just play characters—they became them.

Purple and green are colours that can easily describe this production’s lighting design, but with over 150 cues, it is so much more. Olwen Klug’s lighting design was simply magical; every flash of colour and spotlight carefully shaped the energy and emotions of every song, guiding the audience through a comedic rollercoaster ride as if the lights were telling the story themselves. Alongside the lighting team in shaping the visual atmosphere of the production was the stage management team. They superbly blended in with the cast in their furniture-mover costumes as they seamlessly handled props and brought rather large set pieces on and off stage.

Grief is never easy, but Mother Margaret Mary’s production of Beetlejuice Jr. has shown that

happiness, humor, and love persist even after death. The cast and crew have delivered a bold production that was strange and unusual in the best way possible.

“Beetlejuice, Beetlejuice, Be...”: Mother Margaret Mary’s Beetlejuice Jr.

By Tinbit Hailu

St Joseph Catholic High School

Mother Margaret Mary's production of Beetlejuice Jr, inspired by Tim Burton’s distinct and highly

stylized film, embraces the strange, chaotic world that has made the story so iconic. Known for its exaggerated characters, dark humour and surreal visuals, Beetlejuice presents a unique challenge

when adapted for the stage. Without the use of film effects or animation, productions must rely entirely on performance and creativity to capture that same offbeat spirit – something the cast approached with clear confidence and commitment.

“You’re invisible when you’re sad.” That quiet line sets the tone early in the production, grounding the show in something real before it launches into its signature chaos. Bringing a world as strange and stylized as Beetlejuice to life on stage is no easy task – but this production didn’t shy away from the challenge. Instead, it leaned fully into the chaos, delivering a performance that was bold, expressive and bursting with energy.

At the centre of it all was Nate Cook as Beetlejuice, whose performance didn’t just stand out – it dominated the stage. From the moment he appeared, he commanded attention with exaggerated expressions, unpredictable movements, and a constant sense of mischief. What made his portrayal especially appealing was his commitment beyond the dialogue. Even in moments of silence, he remained fully present, reacting at all times, capturing the chaotic, unfiltered energy that makes the character so unpredictably magnetic. The same level of commitment extended across the cast. Neha Paul’s Delia brought a vibrant, almost radiant energy that cut through the darker elements of the story. Her presence added humour and brightness, making her scenes feel light and dynamic. In contrast, Lynette’s Lydia anchored the show emotionally. Her portrayal of grief felt grounded and sincere, making it easy for the audience to connect with her from the very beginning. This contrast

between the characters created a balance that kept the production from feeling one-note, allowing both humour and emotion to coexist.

The technical elements further elevated the performance. Lighting and sound, led by Rai Sarker and Joy Muzongwe, played a crucial role in shaping the atmosphere of each scene. Bright, saturated lighting flooded the stage during high–energy moments, while dimmer tones emphasised Lydia’s emotional depth. The use of the signature greens and purples gave the stage visual identity, reinforcing the strange and offbeat world of the show. Considering the limited time available to refine these elements, the execution was both confident and effective.

Mother Margaret Mary’s Beetlejuice Jr thrives on its willingness to fully commit to its characters, its style, and its sense of chaos. With standout performances, technical work, and a clear understanding of its tone, the production delivered a memorable and entertaining theatrical experience.

beetlejuice, Beetlejuice, BEETLEJUICE

By Syenne Ko

Archbishop MacDonald Catholic High School

If chaos had a theme song and mischief had a pulse, it would sound exactly like Mother

Margaret Mary’s rendition of Beetlejuice Jr. Their performance embraced the musical’s chaotic

energy with creativity and confidence. From the performers’ expressive vocals to the numerous

technical elements, this production captured the essence of Beetlejuice while adding its own spark.

Beetlejuice Jr. centers on Lydia Deetz, a teenager dealing with the loss of her mother. Lydia’s life takes a bizarre turn when she discovers her house is home to more than just her family. With ghosts, gags, and a certain chaotic trickster in the mix, the story leaps between comedic and heartfelt moments.

The lead performers brought the show’s off-beat world to life with a great deal of personality. Bringing the trickster to life was Nate Cook as Beetlejuice. Cook leaned fully into the character’s chaotic energy, using bold and exaggerated movements that heightened the comedy. A prominent feature of Cook’s performance was his ability to maintain the iconic raspiness of Beetlejuice’s voice. Cook’s dynamic with Lynette Tom as Lydia Deetz created a strong center for the production, especially during musical numbers like “Say My Name”. Tom balanced a wide range of emotions, from sarcasm to grief, which added a realistic layer to the performance.

The supporting cast further added depth and humor to the performance. Pamela Anusiem

(Barbara Maitland) and Xavier Dackiw (Adam Maitland) brought a charming awkwardness that contrasted nicely with Beetlejuice’s wild energy, and their scenes together made the audience want to see more of them. A standout performance was that of Avery Aldridge as Sky, a Girl Scout. The tap dance by Aldridge was a unique addition that made this production special. This whole cast was phenomenal, including the ensemble, who worked with impressive coordination, especially during the fast-paced musical numbers. Together, this cast brought a lot of energy that made the stage feel vibrant and buzzing with life.

The technical elements played a major role in shaping the spooky atmosphere of the

production. The lighting and sound, designed by Rai Sarker and Joy Muzongwe, created clear shifts between the living world and afterlife, through their use of color and timing. With around 150 lighting cues, this crew was on point, heightening both spooky and comedic moments. Costumes and makeup added personality to each character, highlighted by Lydia’s iconic black dress and Beetlejuice’s bold green hair. Despite being staged in a gym, the creative use of multiple exits and entrances made the space feel more dynamic and kept the audience engaged.

In true Beetlejuice fashion, this production refused to stay quiet, stay still, or stay normal.

Mother Margaret Mary’s production of Beetlejuice Jr. embraced the bizarre and delivered a

performance that felt very much alive, even if some of the characters were technically dead.