Do you hear that sound? Beetlejuice is back on Broadway, making good on its threefold promise to thrill and chill theatre fans for a limited return run. 

Justin Collette and Isabella Esler are leading the cult-favorite musical after three years on the Beetlejuice tour, overseeing the show's trademark blend of chaos, connection, and community. Now at the Palace Theatre through January 3, 2026, the duo are perfectly matched opposite as they bring something that is distinctly theirs to the beloved property, making its third return to Broadway.

Collette can't help but laugh when considering the strange and unusual cultural ripples of the show outside the theatre. “There’s something wild about how this lives in people’s minds,” he says, leaning forward with animated energy. “Beetlejuice rides this line between inviting para-social relationships and denying them. Being connected, not connected. That’s the vibe. And I think it’s what makes it stand out.” Esler agrees.

Beetlejuice's boundary-breaking nature, with a porous fourth wall and constant influx of topical adjustments, has cultivated a fandom unlike anything else. "We had some crazy nights on tour. And sure, we're poking the bear, literally. I go out into the crowd, and I poke people," Colette admits, shaking his head. "We're breaking the barrier between character and audience, and some people then assume there isn't a barrier between character and performer, either. But that isn't the case, of course."

The two admit that if they aren't careful, the tidal wave of attention could drown them. "I went straight to therapy," Colette laughs, looking pointedly as Esler.

"It is very important for me to maintain a separation between my character and myself," Esler shares, smiling shyly. "When I left the show on tour, I immediately started therapy in order to process a lot of things that happened on the road. I've really had to learn how to engage with the fans, because they are the best, without losing who I am at the same time."

Even though Beetlejuice premiered in 2019, before the pandemic, the show feels tailored for our post-pandemic world, with its chaotic energy and intimate irreverence. For Esler, the timing of the show’s rise was deeply personal. “I first learned about it during the pandemic. Everyone was home, scrolling endlessly. That gave people the chance to dive deep into shows like this. I was a huge fan. I sang ‘Dead Mom’ all the time,” she laughs. “It’s still surreal. Dream role meets reality.”

When you grow up a theatre kid, it can be hard to separate performance from your personal identity, should you pursue it as a profession. "I've been doing theatre since I was like six," Esler giggles. "Theatre was always my thing. It is still hard for me, sometimes, to say I'm an actor as my job, it still feels weird to say I'm making a career out of it. It's an awe-inspiring thing, but also very overwhelming. I'm still so new in this industry, and I'm learning how to set boundaries as I go."

Collette has been helping Esler learn to ride the wave of fan attention that comes with starring in Gen Z’s favorite musical. “You get into this ecosystem of people who know your work before they meet you,” Colette explains, ”and that changes everything. You have to protect yourself emotionally.” 

"Playing Beetlejuice is kind of this weird little art project for me," Colette details. "I don't want anybody to know anything about my life offstage. To them, I'm just this weirdo who only exists while the show is happening. It's nice to have a separation. I've worked with a lot of people who have made very successful careers from being themselves on social media. but to me, it is exhausting to monetize the small parts of your life for content." 

One of Colette's former sketch comedy peers, internet personality Ned Fulmer (of Try Guys fame), became a pariah after cheating on his wife with an employee. When Try Guys fans recognized him in public, their detailed knowledge of his personal life unravelled his affair in real time on social media. Colette took what happened as a lesson for himself: "His entire life fucking blew up: he lost his family, he lost his career, he lost everything. Because he built everything on the back of his personal life. If you don't keep anything to yourself, nothing is yours anymore."

While the Beetlejuice leads work hard to maintain firm and healthy boundaries, they still make space to open themselves up to the love of the fandom in small doses. They’ve learned to embrace the community the fandom offers, without being consumed by it. For Esler especially, meeting young Latina fans keeps her going, even on the hard days. “It makes all the hard parts worth it," she says softly.

For Colette, there is a very select brotherhood that keeps him going during the most difficult days. "It's me and Alex, man!" Colette states bluntly, laughing. Alex Brightman, who originated the role of Beetlejuice in the musical, has been a friend of Colette's since 2015, when Colette understudied and later replaced Brightman in the role of Dewey in another high octane musical, School of Rock. 

"Alex has essentially been my writing partner for the last 10 years. There aren't a lot of roles like Dewey or Beetlejuice. They ask a lot of you, both as a performer and as a comic. And right now, we're kind of the only two really doing them. I love Alex, and this joint thing we have going on. A lot of these characters that he originated are the blueprint for the kind of musical theatre sandbox I like to play in, and I'm glad Broadway has started to take notice."

The pair know Broadway is a milestone, both for them and for audiences. “Broadway is magical,” says Esler. “My first show changed my life. I wish I could experience that for the first time again. It’s an entire experience. New York is magic.”

Collette nods, suddenly dead serious, his voice pitched low. “I know it's incredibly hard to come to New York City in terms of travel and cost, and that there's a lot of things you could spend that money and time on. Both Bella and I lose sleep over making sure that everyone in that theatre loves the shit out of this show, and that we do our best every single time they come in, so that they get what you paid for. We’re going to make sure everyone leaves with their hearts full ... That’s the promise of this show, and that's my promise to everyone in that theatre.”

Esler looks toward Collette, her eyes narrowed. Colette meets her gaze, immediately slipping into a wide smile: "What, too much?" Esler giggles, and waves him off.

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Photos: Beetlejuice Back on Broadway

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