How Catherine O'Hara Stole the Show in the Beetlejuice Franchise

How Catherine O’Hara Stole the Show in the Beetlejuice Franchise

Welcome to MsMojo, and today, we’re looking at how Catherine O’Hara stole the show from the Ghost with the Most.

Before Beetlejuice

Before being cast as Delia Deetz in Tim Burton’s “Beetlejuice,” O’Hara was best known for her work on the Canadian sketch comedy series, “Second City Television.” Running from 1976 to 1984, the cult show helped launch the careers of comics like John Candy, Martin Short, and O’Hara’s future TV husband, Eugene Levy. Winning an Emmy for her writing contributions, O’Hara stood out with impressions of celebrities like Brooke Shields and original characters like Lola Heatherton. Although some deemed O’Hara “the funniest woman in show business,” she hadn’t received the same level of attention as somebody like Gilda Radner, a fellow alumnus from Toronto’s Second City troupe. Ironically, O’Hara understudied for Radner, who dated her brother. People knew O’Hara’s eccentric characters, although she wasn’t a household name yet.

It became clear that O’Hara was gaining a following when Martin Scorsese recognized her at an event, leading to her being cast in “After Hours.” O’Hara landed a few other supporting roles in movies after leaving “SCTV,” including Mike Nichols’ “Heartburn.” She wasn’t satisfied with every offer, however. O’Hara said in 1988, “The films I’m offered I usually don’t want. The films I want I don’t get. There aren’t that many great scripts - or maybe they just don’t get as far as my level.” One role O’Hara wanted was Jane Craig in “Broadcast News.” O’Hara recalls her first and third auditions going well. Her second and fourth? Not so much. The role went to Holly Hunter, but O’Hara wouldn’t have to audition when she received the “Beetlejuice” script.

Originally, Anjelica Huston was set to play Lydia’s stepmother, Delia. When Huston fell ill, O’Hara’s name came up. Like most of the actors approached about “Beetlejuice,” O’Hara didn’t entirely understand the script. Regardless, O’Hara was “intrigued,” saying, “It was so weird. It wasn’t like anything I’ve read. It was from another world.” O’Hara flew from Toronto to L.A. to meet Tim Burton, whose only other movie up to that point was “Pee-wee’s Big Adventure.” She got the addresses mixed up, though. Upon arriving, she found a note on the door saying, “I’m so sorry. I couldn’t wait any longer. Tim Burton.” O’Hara felt this was a blessing in disguise, as she got the part anyway without meeting Burton first.

In Defense of Delia Deetz

Delia Deetz is introduced as a yuppie who’s more concerned with her sculptures and remodeling her new house than raising her teenage stepdaughter, Lydia. At first, you might assume that Delia is an antagonist. That was O’Hara’s first impression, saying, “I just thought of myself on my worst day. Initially, I thought she was going to be this one-dimensional witch. I mean, she is the villain and everything, but instead of making her just mean, which is how I first read it, she just became someone that gets in everybody’s way because she is so insecurely self-obsessed.” While O’Hara’s description is mostly accurate, we don’t think Delia qualifies as a “villain.”

When the Deetzes move in, they don’t realize their house is haunted. So, Delia has every right to remodel. When the Deetzes learn about the Maitlands, Delia quickly embraces their presence. Granted, she oversteps her boundaries, but if ghosts were haunting your house, wouldn’t you want to prove their existence and maybe make a profit? Delia eventually gains a better understanding of the supernatural with the Deetzes and Maitlands co-existing under one roof. As for her relationship with Lydia, Delia isn’t especially affectionate, but she’s far from the most wicked stepmother. If anything, Delia and Lydia have a fair deal in common. Both are creative with macabre styles. Where Delia desperately wants approval from high society, though, Lydia doesn’t care what anybody else thinks.

O’Hara’s performance goes a long way in making Delia lovable. Improvisation was encouraged on set with Michael Keaton ad-libbing an estimated 90% of his dialogue. O’Hara was also given room to go off-script, contributing Delia’s “I will take you with me” line. Delia’s most memorable scene has to be the “Day-O” number where the voice of Harry Belafonte overtakes her dinner party. The sequence was going to feature the Ink Spots song “If I Didn’t Care.” After O’Hara and co-star Jeffrey Jones suggested something calypso, “The Banana Boat Song” was selected instead. This scene is a prime example of what O’Hara brought to the role. Although Delia has no control over herself, she appears weirdly into the number with O’Hara bringing layers to every expression.

Not every day on set was as much fun as the “Day-O” number. O’Hara said the worst part was getting French kissed by a snake in a scene that ultimately got cut. She otherwise had a great experience working with Burton, who said, “Catherine is so good, maybe too good. She works on levels that people don’t even know.” It wouldn’t be their last collaboration as O’Hara went on to voice Sally and Shock in “The Nightmare Before Christmas.” “Beetlejuice” marked several turning points for O’Hara. Through the film, she met her future husband, production designer Bo Welch. More roles also came O’Hara’s way after “Beetlejuice.” For over 30 years, young viewers have been introduced to O’Hara through “Home Alone.” O’Hara has only grown more popular with Moira Rose from “Schitt’s Creek” becoming a TV icon.

36 Years Later

With Keaton and Winona Ryder seeing career resurgences while Burton worked with new talent like Jenna Ortega, 2024 seemed like the right time for the long-rumored “Beetlejuice” sequel to finally materialize. Jeffrey Jones wouldn’t return as Charles Deetz for obvious reasons. In his absence, though, Delia emerges as a more fleshed-out character. While Delia can still be self-absorbed, she genuinely mourns Charles, showing that their relationship wasn’t as shallow as one might assume. Delia doesn’t even care that Charles is missing his head when they’re reunited. That’s relationship goals! Her relationship with Lydia also has more depth. In the original film, Geena Davis’ Barbara was the more maternal figure. Now that Barbara and Adam Maitland have moved on, Delia steps up more.

Lydia is also less antipathetic toward Delia. That might be because Lydia is now a mother and can identify with having an angsty teenage daughter. Delia takes satisfaction in seeing Lydia get tormented for a change. At the same time, you do get the sense that Delia cares about Lydia and vice versa. They don’t overtly show it, but it wouldn’t be in character for either to do so. The point is that both are there for each other when it matters most. Even when death inevitably separates them, Lydia and Astrid aren’t getting rid of Delia that easily. For a character who might’ve started as one-note on paper, Delia has one of the stealthiest yet most complete arcs across both “Beetlejuice” movies.

With “Beetlejuice Beetlejuice,” O’Hara elevates every moment she’s on-screen with each over-the-top reaction and snappy line delivery. O’Hara was again given a fair deal of freedom, even working in a subtle nod to “The Crows Have Eyes.” While Keaton doesn’t miss a beat as Betelgeuse, O’Hara just might be the MVP here. Much like her art, Delia is deservingly getting more love as time goes by. Likewise, O’Hara’s performance deserves the highest praise. We know it’s a long shot since the Academy rarely recognizes comedic performances, especially ones from genre pictures. You heard it here first, however: FYC - Catherine O’Hara - Best Supporting Actress. Whether or not we can will an Oscar nomination into existence, Delia is just one of O’Hara’s characters who will live for generations.

What’s your favorite Catherine O’Hara performance? Let us know in the comments.