Dead Mom (Reprise) Lyrics – Beetlejuice

Song Overview

A brief, fan-circulated reprise attached to the Beetlejuice universe, “Dead Mom (Reprise)” appears in two forms among listeners: a short, unreleased Lydia fragment often grouped under “Beetlejuice Apocrypha,” and a released finale callback woven into the cast album’s closing medley “Jump in the Line / Dead Mom (Reprise)” on the 2019 Original Broadway Cast Recording. The latter is the only commercially issued version and is credited to the Broadway company with Sophia Anne Caruso featured. The standalone fragment - the text you shared - aligns with materials fans describe as a cut interstitial used in development.

Review and Highlights

Quick summary

1. The fan-circulated fragment presents Lydia making one last reach across the veil - a compact renewal of the Act I solo’s plea, but with propulsion toward action.
2. The officially released callback lives inside the album’s finale medley, a swift motif return that ties Lydia’s earlier longing to her endgame choice. :contentReference[oaicite:0]{index=0}
3. Writers of record for the property’s score are composer-lyricist Eddie Perfect; the cast cut features Sophia Anne Caruso as Lydia. :contentReference[oaicite:1]{index=1}
4. Fan “Apocrypha” uploads trace the fragment’s text (“Mom, it’s me, your daughter…”) to non-album circulation during the show’s rise. Attribution varies and is not label-official. :contentReference[oaicite:2]{index=2}
5. Thematically, both versions bridge grief to resolve - the reprise serves as a hinge, not a showpiece.

Creation History

During development, the team iterated transitions that would keep Lydia’s through-line audible between set-piece numbers. Listeners later grouped stray demos and tags under “Apocrypha,” a fan shorthand for non-album bits. Only the finale callback is canon on record - issued June 7, 2019 with the OBCR. According to Apple Music and Spotify listings, that medley credits Sophia Anne Caruso and the ensemble. Wikipedia’s current song list also marks a finale “Dead Mom” reprise within the closing medley. :contentReference[oaicite:3]{index=3}

Song Meaning and Annotations

Plot

In the fragment, Lydia casts the net one more time: a direct call to her mother, imagining a text that could open a door between worlds. In the album’s finale return, the title phrase surfaces as a memory-spark before the curtain, a quick stitch that links the show’s opening hurt to its communal finish. :contentReference[oaicite:4]{index=4}

Song Meaning

Reprise as reframing: the language of pursuit - “open up, let’s take a ride” - turns the earlier ache into motion. Where the Act I solo asked for a sign, this miniature pushes toward acceptance by testing the fantasy a final time. It is small on the page, but it releases pressure for the final choice to go home.

Annotations

“Mom, it’s me, your daughter / Calling to you from afar”

Plain address. The trust of a kid letter, only sent into the void. In performance context, that simplicity sets up the pivot back to the living.

“Buried in these pages / There’s a way into your arms”

A meta wink - a script as spellbook. She is hunting for a loophole the show has already warned her does not exist.

“Open up, let’s take a ride / To see you on the other side”

The most dangerous wish stated sweetly. It clarifies why later songs must steer her toward connection with the people still here.

Style and placement

The fragment reads like a lyrical pickup over a steady pop-rock bed - quick imagery, buttoned by a spoken “Oh, come on.” The finale callback on the OBCR is shorter still, folded into a celebratory medley so the idea surfaces and vanishes without stopping momentum. :contentReference[oaicite:5]{index=5}

Key Facts

• Artist: Original Broadway Cast with Sophia Anne Caruso (finale callback on OBCR); fan uploads attribute the fragment to Caruso in development contexts. :contentReference[oaicite:6]{index=6}
• Featured: Lydia focused; brief company involvement in the released medley. :contentReference[oaicite:7]{index=7}
• Composer: Eddie Perfect (score author for the musical). :contentReference[oaicite:8]{index=8}
• Producer: OBCR producers include Matt Stine, Alex Timbers, Eddie Perfect, Kurt Deutsch. (Album context for the finale reprise.) :contentReference[oaicite:9]{index=9}
• Release Date: June 7, 2019 for the medley containing the reprise (OBCR). :contentReference[oaicite:10]{index=10}
• Genre: Musical theatre - pop rock
• Instruments: Vocal with pit orchestra rhythm section and strings (album medley context)
• Label: Ghostlight Records in partnership with Warner Records (album context)
• Mood: Yearning, transitional, forward-leaning
• Length: ~2:05 for the entire medley track on streaming; the reprise segment is a brief insert. :contentReference[oaicite:11]{index=11}
• Track #: Included within the finale medley on the OBCR
• Language: English
• Album: Beetlejuice (Original Broadway Cast Recording) - finale medley includes the reprise. :contentReference[oaicite:12]{index=12}
• Music style: Reprise fragment linked to prior melodic material
• Poetic meter: Conversational scansion with direct address

Canonical Entities & Relations

Questions and Answers

Is the reprise officially released as its own track?

No - the label issued it only as part of the closing medley on the OBCR. The fragment you shared circulates in fan spaces without a label release. :contentReference[oaicite:13]{index=13}

Where does it fall in the story?

It reflects Lydia’s final reach toward her mother, then points her back to the living - thematically landing before “Home.”

Do the fragment lyrics appear on the album?

Not in full. The album’s medley uses a short reprise moment rather than the longer fan-circulated text. :contentReference[oaicite:14]{index=14}

Who performs it on record?

Sophia Anne Caruso with company, folded into the medley. :contentReference[oaicite:15]{index=15}

Why do fans call it “Apocrypha”?

It became a catch-all for demos, cut tags, and non-album materials discussed or shared during the show’s rise - unofficial by design.

Is the melody new?

No - it threads recognizable Lydia contours from the main solo so the reprise reads immediately as her voice.

Where can I verify the released reprise?

Streaming listings for “Jump in the Line / Dead Mom (Reprise)” on Apple Music and Spotify confirm the medley and credits. :contentReference[oaicite:16]{index=16}

Awards and Chart Positions

Any chart visibility attaches to the Beetlejuice Original Broadway Cast Recording rather than to this reprise fragment. The album logged notable streaming and chart traction in 2019, including UK Soundtrack Albums action; the reprise itself is not separately charted. :contentReference[oaicite:17]{index=17}

Additional Info

Fans sometimes ask how this fragment relates to the show’s Act II turning point. The answer is simple: it keeps Lydia’s heartbeat audible between big comic set pieces, then hands the story back to her decision to live. As stated in the 2019 coverage and platform credits, the only official reprise on record is the finale callback; the longer lines you shared align with fan-posted, non-album material. According to NME magazine’s guidance on cast albums, micro cues and in-development tags are commonly left off retail releases to preserve pacing and spoilers.

Sources: Apple Music - “Jump in the Line / Dead Mom (Reprise)”; Spotify track listing; Wikipedia - Beetlejuice musical song list and finale medley; Tumblr fan post that first popularized the non-album fragment among listeners.