Megan McGinnis Is Back on Broadway in Beetlejuice and She’s Never Felt More Alive

Megan McGinnis has played her share of sincere heroines in period-specific musicals (Les Misérables, Little Women, Daddy Long Legs), with a brainy Disney princess thrown in (Beauty and the Beast). She veered off that earnest path two years ago as friendly ghost Barbara Maitland in the national tour of Beetlejuice, which is back in New York for a limited engagement at the Palace Theatre. It’s a happy homecoming for McGinnis, whose husband, Adam Halpin, is also headed to Broadway this fall in the ensemble of Chess.

McGinnis and Halpin exemplify the challenges that come with making a life in the theater. When their son, Beckett, was 18 months old, the family hit the road together in Come From Away. By the time Beckett, now eight, was starting first grade, the couple concluded that Halpin should stay put with him in suburban New Jersey while McGinnis toured in Beetlejuice. In a recent Instagram post, she revealed, “In the 87 weeks of shows that I performed, I took 45 trips home and my family visited me in 25 cities… We did this together. And we are stronger for it.” Warm and open, McGinnis chatted with Broadway.com about her journey with Beetlejuice, recent forays into directing and the satisfaction of knowing her work inspires young performers.

How are you feeling about coming back to Broadway in Beetlejuice?
I can’t even believe it’s happening, to be honest. The fact that I get to cap off this journey is just beyond. I’m about to pick out my dressing room, and I’m so excited.

What’s fun about performing such a wild show?
Where do I start? What’s made the fun last for two years is the reaction of the audience. Comedy keeps you going, and every city reacts a little differently. Justin Collette, our Beetlejuice, does a lot of improv with us and with the audience, which keeps us on our toes.

Alex Timbers has directed many different types of musicals, from Just in Time to Moulin Rouge. What’s special about being part of his vision of Beetlejuice?
Alex concentrates on all parts of the show, the spectacle aspect and also the human aspect—which is kind of funny to say in a show about ghosts. What I think is so beautiful about Beetlejuice is the heart that he and the writers have found in it. I never saw the show on Broadway, but when I saw it on tour for the first time, I cried. It really touches you because of [young heroine] Lydia’s journey.

It’s also truly funny, which is not as easy to achieve in a musical as people may think.
Yes, and I find myself laughing in moments when I’m not supposed to!

You’ve done a lot of serious musicals. What’s it been like to show off your comedic chops?
First, let me tell you that I really enjoy wearing sneakers on stage. [Laughs] Comedy is like a science, and it’s so interesting to play off my scene partner, Will Burton [as Adam Maitland]. We’ve done 600 shows together, and we’re still talking about ways to get a laugh.

How big a decision was it to accept an extended run in the Beetlejuice tour? What was the key to making it work?
It’s hard to balance any career with having children, and when you’re an actor, jobs can be few and far between. We have always made decisions as a family, like we did with [touring in] Come From Away. But Beckett is older now, and a routine is very important for him. When Beetlejuice first came along, we thought that if we both got it, we would consider homeschooling. Well, neither of us got it. A year passed, with more struggles in the business, so when another audition came up, we decided it would be okay if one of us leaves. Beckett was in a good place; I was really ready to work; and Adam was content staying home and writing. And we did great. Adam has always been the most exceptional father, but during this time with Beckett, they grew an incredible bond that was beautiful to watch.

Mothers always get these kinds of questions, but I would have asked Adam the same thing if he had gone on tour without you.
Thank you for saying that. I would have asked the same thing, and you know what? I’m proud of what we did. I’m proud of what Adam did at home, and I’m proud of what I did on the road. We both sacrificed. I missed a lot, but I also learned how strong I was. This is where I’m going to get emotional—I’ve been in this business a long time, and I used to feel that my work was everything. I do not feel that way anymore. That doesn’t mean I won’t go on the road. What it means is that I put my family first. I take my personal days. I fly in three hours before sound check on opening night. I don’t sleep for half the week because I do a 5 AM FaceTime before school. I can still do my work in the best way and also be a great mom.

Now Adam is about to do Chess, which will be a different kind of juggling act.
It’s the first time we’ve been on Broadway together, so we’re thrilled. You should see my planner: I have my train times listed and babysitters listed—all the details so we can have as many minutes as possible with Beckett.

You’ve directed musicals by John Caird and Paul Gordon at Theatre Raleigh, including Daddy Long Legs, a show you helped develop a decade ago. What did you enjoy about that?
That opportunity just sort of came up. I saw the [2018] season announced and reached out to [executive director] Lauren Kennedy because we’re old friends. I thought it would be the perfect test, because it’s a show I know like the back of my hand. But I did not want to replicate our New York version; I changed the set and had such a good time. I love talking to actors, apparently; I love making decisions; I love having control; but I also love opening up the room and asking people what they think. I could tell the actors appreciated that.

Things got starrier last year, when you took a leave from Beetlejuice to direct Julie Benko and Matt Bogart in Jane Eyre.
That was the real test. I had never done Jane Eyre, though I had seen it on Broadway too many times—I was an “Eyre head.” Lauren and Matt asked me to do it. The most magnificent part was that John and Paul decided to use it as an opportunity to make changes. They came for nine days, and it was such an extraordinary gift. Instead of directing a “set” show, I directed a new show.

Would you like to direct in New York? Look how well [actress-turned-Tony-nominated director] Jessica Stone has done.
You know, I just want to work. However the work comes up and fits within my family life, I’m up for it.

It’s been 20 years since Little Women…
…oh my gosh!

At this point, what gives you the most satisfaction, in your life and career?
I’m proud of the fact that a lot of what I’ve worked on has lived on. That sounds like I’m 80 years old, but there are people who weren’t born in 2005 who say, “Listening to you sing ‘Some Things Are Meant to Be’ made me want to sing.” That feels special. I remember the day [Little Women composer] Jason Howland sent me a cassette of that song to learn for a backers’ audition. I also feel extraordinarily lucky to have a partner who supports me, and a child who believes in us. It’s so sweet when Beckett realizes that something we do is exciting. He has no interest in theater, but he loves Beetlejuice and was sad when I told him the tour was closing. I said, “We’ll still see everybody!” I’m just proud that I’ve been able to have my family and do what I love.