Building Beetlejuice on stage

Tim Burton’s cult classic Beetlejuice has found new life on stage. But recreating its surreal world takes much more than clever costumes and scary set designs

Words Verity Butler

Writing about Beetlejuice in the middle of a heatwave in July feels slightly odd. However, the timing does go to show how the spooky sensation’s popularity knows no real bounds.

First unleashed in 1988 through Tim Burton’s gothic imagination, the story of the ‘bio-exorcist’ became an instant classic – thanks to Burton’s much-loved cocktail of horror, comedy and surreal visual storytelling.

Unsurprisingly, this winning combination has offered ample opportunity for live entertainment over the years. Big Fish, Edward Scissorhands and Charlie and the Chocolate Factory have all seen stage adaptations – and no, I’m not referring to the infamous ‘Willy’s Chocolate Experience’ viral disaster in Glasgow back in 2024.

Similarly, Beetlejuice made its way to Broadway in 2019 – and now it has crossed the pond to haunt the West End’s Prince Edward Theatre until April 2027. The show offers a masterclass in modern theatrical illusion – with every transformation and location change relying entirely on an intricate web of scenic design, lighting, projection, automation and video technology.

Audiences are swept from the world of the living to the Neitherworld – and back again – all while an extraordinary system of AV is working tirelessly to make the performance appear effortless. A core aspect of this is a huge, moving LED wall supplied by Universal Pixels. Far from acting as a simple digital backdrop, the screen integrates with the physical scenery, synchronising with projection, lighting and automation in order to create a constantly evolving set.

Screen or scene?

Unlike a lot of today’s productions, where you often find LED screens remaining fixed during the performance, Beetlejuice sought something far more ambitious.

“The Leyard CLO-M4L 3.9mm LED was chosen primarily because of its lightweight construction and suitability for a moving screen application,” introduces Ethan Forde, Universal Pixels’ VP of US operations. “The production required a large format LED wall that could physically lift and move during the performance, so weight became a critical factor from the outset.”

Weight may sound primarily like an engineering concern, but in theatre every kilogram can have an impact on creative licence. A heavier screen demands larger motors and more cautious automation, whereas a lighter screen allows directors and designers to think bigger.

“At approximately 25% lighter than other LED systems previously quoted and used on similar productions, the CLO-M4L made a difference to how quickly and efficiently the screen could transition during scene changes. Even small gains in changeover speed were important as the show operates with very tight cueing and fast-paced transitions.”

Those fractions of a second matter massively – audiences may never notice when a transition is perfectly timed, which is the production team’s goal. However, it would be instantly noticeable when one isn’t executed correctly.

“The reduced weight also opened up creative and practical flexibility,” adds Forde. “The screen was mounted on a flying bar using carbon-fibre frames, and was able to move smoothly and reliably within the show’s automation system. It also made installation and handling much more efficient for the crew.”

The choice of screen was significant, as it marks the first production to use Universal Pixels’ new Leyard CLO-M4L inventory, meaning one of the West End’s biggest musicals ultimately became the proving ground for a new LED platform. Introducing brand-new technology to a high-profile show always carries an element of risk, but Forde believes the benefits quickly justified the decision.

“In this case, the advantages very clearly outweighed the challenges. At around 25% lighter than other LED systems previously quoted, it had a direct impact on how efficiently the screen could be flown and transitioned. This also reduced strain on the flying system and made handling and installation more straightforward.

“Another key advantage was the quality of the panel itself. The CLO-M4L delivered a very flat and seamless surface with no visible joins, which is particularly valuable for theatre, where the screen actually often sits as part of the wider scenic picture.”

This allowed the content to feel more immersive, especially in the scenes where video performs directly in line with the physical set and lighting.

“As with any new product introduction,” Forde says, “there was an initial focus on ensuring full confidence in real-world performance within a live theatre environment, but once integrated, the system delivered reliability throughout rehearsals and performances.”

One of the main reasons that this adaptation of Beetlejuice feels so visually distinctive is because the digital elements never seem to dominate the stage. As Forde emphasises, the video system was built around supporting a creative vision rather than dictating it.

“The video system was developed closely around the creative direction of projection designer Peter Nigrini, with a particularly strong emphasis on ensuring that the visual language of the show translated reliably into a live performance setting.

“Collaboration between projection design, animation and engineering teams was key,” he continues. “Content was created to extend the physical set rather than sit behind it, meaning the video had to integrate precisely with scenery, lighting and performer timing.”

Rather than functioning as giant television screens, the LED wall and projection instead became extensions of walls, doors, windows and impossible supernatural spaces, so achieving that required careful technical discipline.

“A lot of the work focused on making sure that ambition was possible within the constraints of live playback systems, cueing accuracy and automation timing. The result is an integrated system where projection, LED content and physical scenery all operate as a single visual environment rather than separate layers.”

Right on cue

Making hundreds of cues happen within a split-second requires more than captivating content, it also needs a sophisticated control system capable of orchestrating every visual element.

In the case of Beetlejuice, that responsibility falls to four Disguise gx 2c media servers, which were also supplied by Universal Pixels.

“Disguise plays a central role in managing the overall video workflow,” explains Forde, “particularly in terms of cue sequencing, real-time playback and synchronisation with automation and lighting systems. It allows the creative content to be mapped accurately onto the LED surface and projection elements while maintaining tight timing across complex show cues.”

Considering the number of moving parts (and screens!) in Beetlejuice, that coordination became essential for this show in particular.

“In a production like Beetlejuice, where video is heavily integrated into transitions and illusions, Disguise effectively acts as the backbone of the video system, making sure all content is delivered consistently and in sync with the wider show control environment.”

Though it plays a landmark role, Beetlejuice’s technical cast isn’t just a one-man LED show. Three Panasonic PT-RQ35K projectors work alongside the LED wall, creating a hybrid visual environment that constantly shifts between projection, LED imagery and physical scenery. Forde stresses that combining three different display tools is never plain sailing.

“One of the key challenges was creating visual consistency between the different display technologies, which behave differently in terms of brightness, colour response and contrast.

“With the three Panasonic PT-RQ35K projectors working alongside a large LED surface, careful calibration was required to maintain a unified visual look across the stage picture.”

Ultimately, the goal was to avoid any sense of separation between systems, so that the audience can experience a single, cohesive visual world. As Forde says: “Achieving that required close coordination between video playback, projection mapping and lighting design.”

AV unplugged

• 4x Disguise gx 2c
• Leyard CLO-M4L 3.9mm LED
• Brompton Tessera SX40, XD
• 3x Panasonic PT-RQ35K
• Supplied by Universal Pixels

Pixel perfect

Burton’s iconic films have always stood out for his stark, yet creative use of colour. You’ll often see extremely bright shades suddenly contrasted with black & white or monochromatic visuals. Accurately translating this recognisable hallmark from stage to screen was essential, to maintain Burton’s stamp on the story. For Beetlejuice, Brompton Tessera SX40 and XD processors were brought in to keep every image looking exactly as intended. Forde divulges why this was the tool of choice.

“Brompton’s role was particularly important in maintaining stable colour reproduction, smooth gradients and reliable performances across varying brightness levels throughout the show.

“Given the dynamic nature of what we’re putting on stage – which could range from bright, saturated visuals to darker atmospheric scenes with smoke – consistent processing helped maintain image integrity in all conditions.”

He also demonstrates how this boosted the overall reliability of the production’s technical elements. “This supported the operational reliability required for a fast-paced production, where the video system needs to perform identically every night without adjustment.”

A lesson in LED

Forde concludes by presenting the project as evidence of how rapidly large format LED is evolving within live performance.

“One of the most notable aspects of the installation was how effectively the lightweight LED solution supported both the creative and practical demands of the show. The ability to move a large 10x6m screen smoothly and efficiently within tight changeover windows was an incredible achievement.”

Perhaps most significantly, Beetlejuice brings to the table an increasingly important milestone for designers across the industry.

“In terms of lessons learned,” says Forde, “the production reinforced the value of integrating video systems early on in the creative process, especially when LED is being used as part of the scenic architecture rather than just a backdrop. Not only this, but it also highlighted how important aspects like weight, speed and system reliability are when LED becomes part of the physical movement of a show.

Meet the team

• Peter Nigrini Projection designer
• Lacey Erb Associate projection designer
• Zoey Crow Associate projection designer
• Mogzi UK associate video designer and programmer
• Alessandro Uragallo Animator
• Alex Ramsden Lead video engineer
• Chris Jackson Video engineer
• Sam Gough Video engineer
• Jakub Krumpolc Video engineer

This article was first published in the Autumn 2026 issue of LIVE.