Podcast Summary: MickeyJoTheatre — “Why is Trisha Paytas doing BEETLEJUICE?! | The industry problems behind the Broadway stunt casting”

Host: Mickey Jo (MickeyJoTheatre)
Episode Date: October 10, 2025

Episode Overview

This episode delves into the surprising and much-discussed casting of Trisha Paytas—a controversial social media personality—as Maxine Dean in the national tour production of Beetlejuice during its limited run on Broadway. Mickey Jo breaks down the implications of this stunt casting, examines why producers are making such choices in the current Broadway landscape, and explores the ethical and economic dilemmas facing the industry.

Key Discussion Points & Insights

1. The Announcement & Immediate Reactions

• Trisha Paytas Joins Beetlejuice Broadway Tour
  • Mickey Jo opens by repeatedly stating, “Trisha Paytas is joining the Broadway Company of Beetlejuice,” reflecting his ongoing disbelief (01:38).
  • He outlines the nature of the production—a touring company playing a short, “scarcity-release” run at the Palace Theatre as a growing Broadway model (03:00).
  • Trisha’s casting as “stunt casting” for box-office security: “To make sure that they really do [sell tickets], we have a little bit of stunt casting involved in the show as well, in the form of Trisha Paytas.” (03:51)

2. Who Is Trisha Paytas in Beetlejuice?

• Her Role and Background
  • Trisha will be playing Maxine Dean, a minor comedic character who appears in one scene and doesn’t sing solo (06:50).
  • Her engagement is three weeks only: November 4–23, 2025 (07:10).
  • Trisha’s recent history includes a sold-out one-woman show at the St. James Theatre, emphasizing her fan appeal rather than musical prowess:

    “She is not an extraordinarily gifted singer…but also, before we get too upset…not playing a singing role in the show.” (05:15)

• Trisha’s Online Influence
  • Noted for her “effervescent personality,” Trisha’s huge social reach (over 20 million fans on YouTube) is a driving factor.
  • Producers seem focused on ticket sales over traditional casting credentials.

3. The Broadway “Tour Stop” Model & Ticket Strategy

• Touring Company on Broadway
  • Mickey Jo explains how touring productions now do limited Broadway runs to create urgency and maximize ticket sales (03:24).
  • Trisha’s prior performance data foreshadowed this choice:

    “Evidently she can sell tickets…producers will have noticed that, and clearly they have.” (04:35)

• Comparisons to Other “Star” Castings
  • Charli D’Amelio in & Juliet cited as another example; but crucial difference: Charli is a trained dancer, while Trisha is not classically trained (05:00).
  • Trisha’s role requires little technical skill, making her a “safe” stunt cast.

4. Is This Unprecedented? The History of Cameos and Stunt Casting

• Historical Context
  • Celebrity and charity cameos are not new—mentions of walk-on roles for Make-a-Wish children, charity stunts in the West End, and social media personalities like Kim Hale in Chicago (09:20).
  • The cameo is a limited, non-impactful role rather than principal casting.
• “Did Beetlejuice Need To Do This?”
  • The show’s checkered financial history (never recouped on original runs); current Broadway market makes selling out challenging even for so-called “cult hits” (11:00).
  • Beetlejuice benefits from social media buzz, but that doesn’t always translate to real-life box office receipts in New York (12:54).

5. Morality, Industry Equity, and Stunt Casting Fallout

• Is Trisha “taking” another actor’s job?
  • Clarifies that the regular track performer, Sharon Sye, will shift roles temporarily and not lose her job or pay (15:54).
  • Mickey Jo:

    “I don’t think we necessarily need to be lamenting for the losses of this Broadway actor who is going to continue to be in the show every single night…” (16:40)

  • Far worse has happened before, where contracted performers are paid out so a celebrity can briefly take over.
• Pay Disparities and Touring Cast Contracts
  • Raises labor concerns: Touring casts might not be paid standard Broadway rates during these “tour stop” stints, even as social media stars pull higher fees (18:23).
  • Rob McClure (original Beetlejuice Broadway cast) recently aired similar concerns regarding contract disparities.

  • “…Trisha Paytas is going to be getting paid a significantly higher wage…and it ignites a really difficult conversation about who deserves to be getting paid more in this ecosystem…” (19:00)

• Moral Outrage & Selective Boycotts
  • Connects to discourse around Kristin Chenoweth’s controversies and the musical The Queen of Versailles—public judgment seems inconsistent based on who the celebrity is (19:58).

6. The Broader Impact: Broadway’s Future and Marketing Tactics

• The Rise of the “Broadway Cameo”
  • Is this becoming an intentional marketing tactic? Cites cameo tradition in Gutenberg! and Titanique, which provided “buzzy social media moments” (21:55).
  • The key difference: Trisha’s casting is marketed from the outset, not a surprise.
• Will This Spread?
  • Questions if UK producers may follow suit (Gemma Collins as a UK equivalent?) and whether other shows will embrace influencer/cameo casting in response to financial pressures. (24:58)
• Is it actually harmful?
  • For this instance, the risk is minimal since Trisha’s commitment is limited and her role is not central:

    “I think she has a big enough personality and is charismatic enough that she can probably land the few moments of dialogue that it sounds like she has.” (24:02)

  • The danger lies in producers overrelying on “star” moments to the detriment of talent and ensemble-driven theater.

Notable Quotes & Memorable Moments

• On disbelief and Broadway’s oddity:

  “I say it three times, not as a reference to the show, but because I’m still processing this information in real time. Oh my God.” (01:38)

• On Trisha’s qualifications (or lack thereof):

  “She is not an extraordinarily gifted singer…but also, before we get too upset about it, not playing a singing role in the show.” (05:15)

• On industry pay disparity:

  “It ignites, I think, a really difficult conversation about who deserves to be getting paid more in this ecosystem because Trisha will be bringing in a lot of box office… but will also be spending extraordinarily little time on stage.” (19:00)

• On the rise of Broadway cameos and its implications:

  “Is the Broadway cameo something we should have seen coming a little bit sooner?” (21:56)

Important Timestamps

| Timestamp | Segment Description | |-----------|--------------------| | 01:38 | Announcement & immediate reactions to Trisha Paytas casting | | 03:00 | “Tour stop” Broadway model explained | | 05:15 | Trisha Paytas’s lack of traditional musical training and why her role is minimal | | 06:50 | Explaining the Maxine Dean character | | 11:00 | Discussion of Beetlejuice’s financial history and cult following | | 15:54 | Addressing the “are actors losing jobs” question | | 18:23 | Contract disparities and broader labor implications | | 19:58 | Moral discourse and comparisons to other controversies (Kristin Chenoweth) | | 21:55 | Analysis of celebrity cameos (Gutenberg!, Titanique) and their effect | | 24:02 | Assessing Trisha’s suitability for her limited Beetlejuice role | | 24:58 | Speculation about the trend growing in London/elsewhere |

Tone & Closing Thoughts

Mickey Jo maintains his signature blend of humor, skepticism, and informed theatrical analysis throughout, neither fully condemning nor condoning the stunt casting choice. He calls for open discussion:

“I am sort of morbidly fascinated and I would love to know, as always, what everyone else thinks about this in the comments section down below.” (25:52)

He urges listeners to reflect on the broader industry trends, both economic and cultural, that have paved the way for such unprecedented casting decisions.

Final Takeaway

The episode offers a comprehensive, witty, and sharp look at the realities of Broadway economics, social media influence, and the sometimes uncomfortable coexistence of commerce, celebrity, and art. It’s essential listening for anyone interested in how the industry is evolving—and what may come next if stunt casting continues to expand its influence.