Get ready to have the time of your afterlife at the supernaturally hilarious BEETLEJUICE THE MUSICAL.
Based on Tim Burton’s beloved film, this life affirming musical tells the story of Lydia Deetz (Karis Oka), a strange and unusual teenager who finds herself sharing her home with a pair of newly deads and a demon with a thing for stripes.
Starring Broadway’s Andy Karl as the ghost with the most, this eight-time Tony-nominated sensation is a ‘HILARIOUS, PULL-OUT-THE-STOPS EXTRAVAGANZA’ (Time Out New York) that is a ‘HELL OF A LOT OF FUN’ (The Guardian). With an irreverent book, jaw-dropping set design, and a knockout score by Australia’s own Eddie Perfect, BEETLEJUICE THE MUSICAL is a riotous, big-hearted celebration of family, love, and making the most of everyday-O.
As Beetlejuice The Musical prepares to return to Brisbane’s QPAC theatre, kicking off the latest Australian tour, Nick L’Barrow spoke with Lydia Deetz herself, star KARIS OKA, about how Winona Ryder’s iconic performance was a helpful foundation, and the influence of Tim Burton’s filmography.
Nick: Before we jump into Beetlejuice The Musical, I would love to find out what the work of Tim Burton has meant to you as a creative and also as a fan?
Karis Oka: I think the first film I saw that he was a part of was [The] Nightmare Before Christmas. And I remember seeing Beetlejuice at a friend’s house. We would always watch really cool movies at her house. I saw Spirited Away there for the first time, which is now one of my big faves as well. I feel like everyone has a sort of visual world that speaks to them more than others. Some people have like [The] Lord of the Rings and all of that stuff. For me, it was Tim Burton for sure.
Nick: He definitely paints these dynamic, visceral pictures within his worlds. And from the clips of the musical that I have seen, it’s incredible how that has been recreated on stage. When you first stepped on to the set and into this world, what were some of those feelings and emotions?
KO: Oh my gosh. It was so weird. I don’t even know what to compare it to, especially because I’ve been a fan of the musical before even auditioning. I’ve seen that set on screen before, and then it’s so weird that all of a sudden I was literally on that exact same set. I remember during tech, I think I was singing ‘Dead Mom’ or something, and everyone was watching me, and that’s when it really felt like, “Oh my god, we’re actually doing the show”. I was like, “I am Lydia.”
Nick: Lydia is obviously such an iconic character who has been played by so many fantastic actors, like Winona Ryder. I’m curious to know if you take aspects from other people’s interpretations of Lydia, whether it’s from the movie or on stage, to help you tap into Lydia as a character?
KO: Yeah, I am a firm believer that the character is all in the text, and everything from there is an interpretation. But I’m also very aware that Winona and the film were the blueprint, and I deeply respect that. I never wanted to copy because I would be embarrassed to try. I wouldn’t be able to do it well. I don’t want to do an impression. That doesn’t sit right with me. I just want to make it my own, and that is through referring to the text, re-watching Winona and discovering why people fell in love with this character, and discover what the overall archetype she represents is. And all of that research really allowed me to find those feelings and themes about home and grief, and the supernatural, and being invisible or an outsider.
Nick: Do you feel like you get to evolve the character as each show goes on? Do you find out new things about Lydia as you perform each night?
KO: I definitely have the version of her that the directors saw during rehearsals and pretty much approved of. The version that everyone is happy to have presented in the show. But, there’s always room to grow. For my vocal health, I’m not changing anything too drastically. It’s just easier and cleaner and safer for me to stick to the similar stuff. But there’s definitely times where, say, something in the news that day might affect me and when I did a show that night, it completely changed my emotion in a scene. So, the character hasn’t shifted over time, but the cool thing is that I can try to add things or be open to new ideas.
Nick: How does all of that exploration then help you find Lydia’s voice? For both acting and singing?
KO: I love that question. I think about voice stuff a lot. We were all doing some pretty crazy character voices. And I know the American accents help. But I do remember distinctly being like, “I need this voice to be safe to perform eight times a week.” Whatever the choice ends up being, that has to be my priority. Something that I can do all the time, and that sets me up in a good place to then sing from. And then I had a checklist of things, like she’s young, so I wanted that to come out. She calls out to her mum a lot, and I think that’s kind of a powerful auditory thing. Hearing a kid call for their mum is very evocative. Then there is also something romantic and dreamy about her, with a bit of a sing-song quality. There was a point where I was worried I sounded like Bart Simpson [laughs]. But that’s how the voice evolved. It’s safe but it’s also not just copying someone else’s voice.
Nick: One of Lydia’s most iconic quotes is about being “strange and unusual”. Does that sentiment give you a sense of freedom as a performer, not just for Lydia, but every character you inhabit?
KO: I feel like it’s nice because I play a lot of weirdos [laughs]. But the relationship of feeling different or weird is different for everyone. I think that’s why the character of Lydia is so loved. In the musical and the film, she talks about how no one really gets her. She is kind of strange. But, that’s just how she is, and she’s at peace with it. She never feels bad about being strange and unusual, and that is strange for a teenager. I think it’s quite powerful. That point of view is really inspiring. I think people are really drawn to that. You can be strange without being like, “I’m a little freak!” And it can seem like when someone is so authentically themselves, it can feel like a character. But it’s her truth. It’s what she is feeling.
Thank you so much to Karis for her time, and to Michael Cassell Group and Shout Communications for organising the interview. Beetlejuice The Musical opens at QPAC’s Lyric Theatre June 7.
