Fright of Their Lives Lyrics – Beetlejuice
Fright of Their Lives Lyrics
Beetlejuice, Adam, Barbara and EnsembleOkay
Listen up, I'm not gonna lie
Right now, you couldn't frighten a fly
Or scare a seagull off of a fry
You ever stop to ask yourselves "why?"
Both of you are super polite
Middle class, suburban, and white
Well, all of that is finished tonight
Except for the white part
Obviously
Take your places
I want scary faces
Now go!
Bigger
Further
Harder
Not bad
Sever a head
Preferably someone you know
[BARBARA, spoken:]
Look at me, I'm so scary
[BETELGEUSE:]
Don't be so vanilla
Would a little anger kill ya?
C'mon, drop your panties
I'm trying to fill you
With wisdom and skill
And the instinct to kill
[ADAM, spoken:]
Again, we do not want to kill anyone
[BETELGEUSE, spoken:]
Fine!
But somehow, someway
You gotta make 'em see ya'
I'm talkin' jumpscares
The jerky Japanese ghost-walk
Plus;
Learn to throw your voice
Fool your friends
Fun at parties
[ADAM, spoken:]
Now THAT is cool!
I wanna do that!
[BETELGEUSE:]
Whatever it takes to make 'em go crazy
Raising the stakes by punching a baby
Scare 'em awake till they break
They'll be quaking in fright
'Cause you've got some evil deep down inside you
Put all the farmer's markets behind you
You've gotta work
Gotta haunt till it hurts
Through the night
And give those guys the fright of their lives
Yeah yeah!
[BETELGEUSE:]
Let's start with things that you hate
[ADAM:]
Well, hate's a very strong word
[BARBARA:]
Perhaps when people are late
[ADAM:]
Or getting pooped on by birds
[BETELGEUSE:]
No, what fills you with rage?
[BARBARA:]
Being mean to a pet
[ADAM:]
Chefs who use too much sage when they make beurre noisette
[BARBARA:]
Over-glutinous food
[ADAM:]
Or when kids call me "dude"
[BARBARA:]
Oh, I find that so rude!
[BETELGEUSE:]
Well, there's lots there to use
Take a deep breath
And give me your best primal scream
[BARBARA:]
Aaaah!
[ADAM, spoken:]
Barbara, that was brilliant!
[BARBARA, spoken:]
Really?
[BETELGEUSE:]
Try it again
Maybe this time pretend like you mean it
[BARBARA:]
Aaah!
[ADAM, spoken:]
That was even better!
[BARBARA, spoken:]
Thanks!
[BETELGEUSE:]
I want freedom
But to get my freedom I need them
To get a living person to say my name
[ADAM & BARBARA:]
Betelgeuse, Betelgeuse, Betelgeuse?
[BETELGEUSE:]
I know that beggars can't be choosers
But do they have to be such losers?
Both of them are deathly dull and lame
[ADAM & BARBARA & CHOIR:]
Betelgeuse, Betelgeuse, Betelgeuse
[BETELGEUSE:]
Why God, slash Satan, did you send these bed wetters?
Even, like, a tax attorney would've been better
Somebody with gravitas
Somebody to fear who-
[ADAM:]
Excuse me, Mr. Betelgeuse
We can kind of hear you
[BETELGEUSE, spoken:]
Yeah?
Well that was a soliloquy so you're the one who's being rude
[BETELGEUSE, sung:]
Whatever it takes to make 'em go crazy
[BARBARA:]
Turn all the lights on
[ADAM:]
Dress like a baby
[BETELGEUSE, spoken:]
Adam, I don't even- No
[BETELGEUSE, sung:]
Get your heads in the game
[ADAM & BARBARA:]
Let's hide their phones
[BETELGEUSE (ADAM & BARBARA):]
Screw their phones!
Ugh, these dopes are both hopeless
How will I ever survive?
Unless they get the fright of their lives~
(Yes yes, we're feelin' it, they're gonna feel it, we're killin' it!)
They gotta get the fright of their lives
(We're scary, very very scary!)
They'll never get the fright of their lives
(Yeah!)
Ugh
Song Overview

“Fright of Their Lives” is the sixth track on Beetlejuice (Original Broadway Cast Recording), the moment where Beetlejuice schools the oh-so-nice Maitlands in the dark art of scaring. It’s a comic drill sergeant routine set to a brisk pop-theatre groove - part masterclass, part roast - that primes Act I for the larger set pieces to follow.
Review and Highlights

Quick summary
- Beetlejuice lectures the Maitlands on how to haunt - the number’s a comic boot camp for ghosts in training.
- Music and lyrics by Eddie Perfect; performed by Alex Brightman with Kerry Butler and Rob McClure on the OBCR.
- Album released digitally in 2019, with CD and vinyl editions later that year.
- Built for laugh-lines and sharp diction: patter verses, chanty hooks, and a mid-song “gospel” lift when Beetlejuice reveals his real aim.
- Live versions lean into crowd play - mic bits, mock-choir, and sneaky improv flourishes.
The track moves like a training montage: punchy drums under staccato quips, reed chatter, and brass pops that punctuate the insults. Brightman’s delivery is all jagged edges and side-eye; Butler and McClure volley the “earnest but hopeless” replies with sitcom precision. You can feel the staging - a lesson plan in jump scares, vocal tricks, and bad taste - baked into every bar. According to trade coverage of the cast album roll-out, the recording went out first as a digital drop, then on disc and picture-vinyl for collectors, a savvy way to meet the show’s rapidly growing fanbase.
Creation History
Eddie Perfect wrote the piece to flip a classic ghost story beat - the amateurs need a pro. The musical had its Broadway opening in April 2019; the album followed in June via Ghostlight, with physical editions that fall. In rehearsal and on tour, the number proved flexible: tiny lyric tweaks and ad-libs kept Beetlejuice’s snark current while preserving the rhythm of the joke.
Song Meaning and Annotations

Plot
Beetlejuice wants out, and the Maitlands are his ticket. If they can terrify the Deetzes, chaos reigns and he can leverage the living. The pair, however, are terminally polite. So Beetlejuice drills them - faces, screams, tricks - while slipping his real requirement into the lesson: he needs a living person to say his name.
Song Meaning
The tune is mentorship as mischief. On the surface, it’s a how-to scare clinic. Underneath, it’s a hustle: Beetlejuice nudges the couple toward rule-breaking so he can inch closer to freedom. The comedy lands because the music keeps a quick clip, and because the rhyme never lets the threat get heavy - this is chaos packaged as a pep talk.
Annotations
“Right now, you couldn’t frighten a fly / Or scare a seagull off of a fry”
He opens with a double put-down that scans like a tongue-twister. The food-court image sets the suburban tone the song keeps skewering.
“Both of you are super polite / Middle class, suburban, and white… Except for the white part - obviously”
He brands their problem: niceness. In later tours a few lines were swapped for fresher gags - the core joke remains the same.
“Sever a head - preferably someone you know”
A cheeky nod to the film’s ghoul gags, folded into the lesson as if it were a normal Tuesday assignment.
“Learn to throw your voice! Fool your friends! Fun at parties!”
He sells a practical “party trick” to the squeamish Maitlands - bait they immediately bite. It’s also a wink to the movie’s possession bits.
“I want freedom - but to get my freedom, I need them / To get a living person to say my name”
The mask drops for a bar. The choir swell underlines his actual motive, then the wisecracks resume.

Style and staging DNA
Genre-blend alert: vaudeville patter meets pep-band chant with a pinch of faux-gospel. Orchestrations keep the engine tight - rhythm section drives, reeds chatter, brass tag the punchlines - so the text stays in front. Onstage, Brightman often wields a handheld mic like a late-night host, riffing on the fly while the Maitlands pratfall through “scary school.”
Key Facts
- Artist: Alex Brightman; Rob McClure; Kerry Butler; Beetlejuice Original Broadway Cast Recording Ensemble
- Composer/Lyricist: Eddie Perfect
- Producers (album): Kurt Deutsch; Eddie Perfect; Alex Timbers; Matt Stine
- Release Date: June 7, 2019
- Album: Beetlejuice (Original Broadway Cast Recording) - track 6
- Label: Ghostlight Records with Warner Records partnership for physical editions
- Genre: Broadway pop - patter with chant hooks
- Length: approx. 3:00 on the commercial stream; some listings show 3:44 for instrumental stems
- Instruments: pit band - drums, bass, guitars, reeds, brass, keys; ensemble voices
- Mood: whip-smart, sardonic, sprinting
- Language: English
- Music style: comic training song with mid-song “choir” lift
- Poetic meter: quick iambic patter with anacrustic pick-ups
Canonical Entities & Relations
People | Alex Brightman - Beetlejuice lead; Kerry Butler - Barbara; Rob McClure - Adam; Eddie Perfect - score; Kurt Deutsch, Alex Timbers, Matt Stine - album producers. |
Organizations | Ghostlight Records - album label; Warner Records - physical distribution partner; Winter Garden Theatre / Marquis Theatre - Broadway homes during the album era and relaunch. |
Works | Beetlejuice (musical) - source; Beetlejuice (1988 film) - inspiration for several gags referenced in lyric. |
Venues/Locations | The DiMenna Center for Classical Music - recording site credited on the album; New York City - production base. |
Relations | Perfect - composer-lyricist of track; Brightman + Butler + McClure - featured OBCR trio; Deutsch + Timbers + Stine + Perfect - album production team. |
Questions and Answers
- Where does the number sit in Act I?
- Right after “Dead Mom,” when the Maitlands realize they need help scaring the Deetzes out of the house.
- Why a training song here?
- It resets the stakes with a practical objective - learn to haunt - and gives Beetlejuice a showy teaching platform.
- What makes the humor land on record?
- Tight groove, clipped consonants, and room in the mix for punchlines. The band hits feel like rimshots.
- Does the lyric change on tour?
- Minor updates exist - the intent stays put while a few lines flex for casting and audience.
- Any callbacks to the film?
- Plenty - ventriloquism gags, mock-severed heads, and possession-adjacent bits folded into the “lesson.”
- Is Beetlejuice’s motive obvious yet?
- He spells it out mid-song: to get free, he needs a living human to say his name.
- How does the ensemble function?
- They act like a pocket chorus, amplifying Beetlejuice’s bravado and framing the Maitlands’ flailing.
Awards and Chart Positions
Show recognition: The Broadway production received eight Tony Award nominations in 2019, including Best Musical and Best Original Score. The album’s rollout kept the title in the conversation while the production gathered national attention.
Year | Body | Category | Result |
2019 | Tony Awards | Best Musical; Best Original Score; plus six other nominations | Nominated |
Additional Info
Release cadence matters. The cast album hit digital services on June 7, 2019, with a CD following in October and a picture-disc vinyl arriving in November - complete with full-color packaging and liner notes. By the time the tour and relaunch momentum kicked in, the album had clocked hundreds of millions of streams. According to the Tony Awards site, the show logged eight nominations in its first Broadway season; press materials and later venue releases reported milestone streaming counts as the album’s audience kept compounding.
Sources: Ghostlight Records YouTube channel and official audio; Apple Music album page; BroadwayWorld vinyl announcement; TheaterMania CD announcement; Tony Awards official site; Wikipedia overview for awards list consolidation; Arsht Center press page noting streaming milestones.
Music video
Beetlejuice Lyrics: Song List
- Act 1
- Prologue: Invisible
- The Whole "Being Dead" Thing
- The Whole Being Back Thing
- Ready, Set, Not Yet
- The Whole "Being Dead" Thing, Pt. 2
- The Whole "Being Dead" Thing, Pt. 3
- Dead Mom
- Fright of Their Lives
- Ready Set, Not Yet (reprise)
- No Reason
- Invisible (Reprise) / On The Roof
- Say My Name
- Day-O (The Banana Boat Song)
- Act 2
- Girl Scout
- That Beautiful Sound
- Barbara 2.0
- What I Know Now
- Home
- Creepy Old Guy
- Jump In The Line
- Beetlejuice Apocrypha
- I Am Very Good At Running Cults
- Mama Would
- Goodbye Emily Deetz
- Running Away
- Suicide Note
- Children We Didn't Have
- Good Old Fashioned Wedding
- Dead Bird
- Everything is Kinda Meh
- Dead Mom (Reprise)
- The Whole ‘Being Dead’ Thing Pt. 4
- That Beautiful Sound (reprise)
- Beetlejuice: The Demos The Demos The Demos
- Death’s Not Great
- The Hole
- Gotta Get Outta This House
- Sign Yourself Over to Me
- Delia’s TED Talk
- You Can Only Work with What You Get
- Step Right Up
- A Little More of Your Time (Charles)
- What’s Left?
- The Box
- Mixed It Up Together
- Ain’t It Strange?