‘DEATH BECOMES HER’: Megan Hilty & Jennifer Simard. Photo: Matthew Murphy & Evan Zimmerman.

DEATH BECOMES HER
Based on the Universal Pictures film, directed by Robert Zemeckis
Book by Marco Pennette
Music & lyrics by Julia Mattison & Noel Carey
Directed & choreographed by Christopher Gattelli
Through June 28, 2026
Lunt-Fontanne Theatre
205 West 46^th Street
https://deathbecomesher.com/

By Scott Harrah

The 1992 film Death Becomes Her, starring Meryl Streep and Goldie Hawn, was a phenomenal hit comedy, with iconic performances by the two actresses and state-of-the-art special effects. Broadway stage adaptations are always tricky and a gamble. Fortunately, this musical captures all the outrageous fun and special effects that made the movie so memorable. What’s more, at times the Broadway version surpasses the movie’s high-energy level of self-parody, and that’s a plus for anyone who loves exaggerated entertainment for laughter’s sake.

Like the famous film on which it is based, the musical Death Becomes Her revels in all the catty fun one can think of when two women who are best friends and celebrities take rivalry to outrageous lengths. It has all the ingredients for bona fide camp: Bitchy one-liners, the quest for eternal youth, and women fighting over men. Not exactly feminist fare, for sure, but the 1992 movie never tried to be that either. More like Clare Booth Luce’s The Women fused with a horror movie with a subtext about the dangers of extreme plastic surgery gone horribly wrong.

The plot

For those who have never seen the movie, here’s a brief synopsis. Madeline Ashton (Megan Hilty) is an aging Hollywood star who will do anything to restore her once-youthful beauty. Her friend and rival Helen Sharp (Jennifer Simard) is a struggling writer married to plastic surgeon Ernest Menville (Christopher Sieber). Desperate to rejuvenate her looks, Madeline visits the enigmatic Viola Van Horn (Michelle Williams), a woman who sells her a magic potion that will restore beauty and make one forever young. One catch: The potion makes people live forever, and beauty and immortality both have many sobering consequences and side effects.

Madeline and Helen have been “frenemies” for years, with Madeline obsessed with her vanity and Helen thirsty for revenge. When Madeline steals Ernest from Helen, all-out war ensues.

True to the film

The musical adaptation of Death Becomes Her is mostly true to the 1992 film, despite a few minor changes in the script and some character’s names that will only be noticed by those who have seen the movie dozens of times (this reviewer, for example).  Marco Pennette’s book is consistently crisp and full of quick-witted repartee. Thanks to “illusions” by Tim Clothier, a gorgeous set by Derek McLane, fantastic lighting by Justin Townsend, ultra-glamorous costumes by Paul Tazewell and hair and wigs by Charles LaPointe, Broadway’s Death Becomes Her is a nonstop glitz-fest. For years, critics have been complaining that Broadway musicals are too threadbare, utilitarian and not extravagant enough anymore, but this one pulls out all the proverbial stops.

The score

Julia Mattison and Noel Clary’s songs are all whimsical and witty. However, although few are particularly memorable, they certainly are never dull. One of the standouts is “For the Gaze,” Madeline’s gleefully silly production number in act one. The “Gaze” she sings about are actually “gays” and she impersonates everyone from Liza Minnelli to Julie Andrews in Victor/Victoria while scantily clad chorus boys dance around her.

Sublime cast

The sublime cast truly makes Death Become Her shine. It is a treat to see the two female leads back on Broadway. Megan Hilty is a true comic delight as Madeline Ashton. With her seamless delivery of snarky wisecracks and her soaring vocals, Ms. Hilty is the perfect Madeline. Equally outstanding is Jennifer Simard, who makes the perfect transition from mousy frump Helen to a buxom sexpot. Ms. Simard has been slowly gathering momentum on Broadway over the years, and her portrayal of Helen Sharp is her best performance ever. Christopher Sieber is also amazing as Ernest Melville, the plastic surgeon who must endure “Mad” and “Hel” for too long.

Supporting cast members are equally extraordinary. Michelle Williams sheds her Destiny’s Child image and portrays the mystical Viola Van Horn with the right mix of mystique and the macabre. Of course, her vocals on such songs as “Don’t Say I Didn’t (Warn You)” are first rate. Josh Lamon gives a fun performance as Stefan, Madeline’s overworked assistant. Taurean Everett is wonderfully menacing as Chagall, Viola’s assistant.

Director and choreographer Christopher Gattelli directs everything fluidly and smoothly, helping make Death Becomes Her one of the year’s best musicals. It’s hilarious from the moment the curtain rises and the madcap insanity never lets up.

Published November 25, 2024
Reviewed at press performance on November 23, 2024

‘DEATH BECOMES HER’: Michelle Williams (center) & cast. Photo: Matthew Murphy & Evan Zimmerman.

‘DEATH BECOMES HER’: Christopher Sieber. Photo: Matthew Murphy & Evan Zimmerman.

‘DEATH BECOMES HER’: Jennifer Simard & Christopher Sieber. Photo: Matthew Murphy & Evan Zimmerman.

‘DEATH BECOMES HER’: Megan Hilty (center) & cast. Photo: Matthew Murphy & Evan Zimmerman.

‘DEATH BECOMES HER’: Jennifer Simard & Christopher Sieber. Photo: Matthew Murphy & Evan Zimmerman.

‘DEATH BECOMES HER’: Taurean Everett (center) & cast. Photo: Matthew Murphy & Evan Zimmerman.

‘DEATH BECOMES HER’: Jennifer Simard (center), Megan Hilty, Christopher Sieber & cast. Photo: Matthew Murphy & Evan Zimmerman.

‘DEATH BECOMES HER’: (left to right) Megan Hilty, Jennifer Simard, Josh Lamon & Christopher Sieber. Photo: Matthew Murphy & Evan Zimmerman.

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‘NOISES OFF’: (left to right) Daniel Davis, Kate Jennings Grant, Andrea Martin, Jeremy Shamos & Megan Hilty. Photo: Joan Marcus

NOISES OFF
Written by Michael Frayn
Directed by Jeremy Herrin
Through March 6, 2016
American Airlines Theatre
227 West 42nd Street
(212-719-1300), www.RoundaboutTheatre.org

By David NouNou

There was a time when comedy was a staple on Broadway, now it is a rarity, and a fun-loving farce is nonexistent. So whenever Noises Off is revived, it is a welcome addition to any theatrical season. Mr. Frayn’s comedy has never been considered high art, but is a wonderful, gut-splitting tale about a regional touring company of a bad show, with second-rate actors, from the time of a final dress rehearsal to final performance of the tour. It could be about any American touring company, but this particular one is set in the British hinterlands.

The setup is brilliant: Act I is set at the final dress rehearsal hours before curtain time; you get to see the dreadful play being performed onstage. A lot of the plot centers on sardines, missed cues, slamming doors, pratfalls, bloated egos, affairs souring; in short, every conceivable disaster that a farce faces. Act II is a month later, with all the action taking place backstage at a performance of said dreadful play where the performance starts unraveling. Act III is two months later at the end of the tour and everything has unraveled.

Whether you are a seasoned or a first-time theatergoer, the fun here is the situation is so relatable. You might think that some of the action is so outlandish and far-fetched, but in the theatre it really isn’t, and that is the nature of a farce and one is supposed to go with the flow. With the theme being so universal, I’ve often wondered why when this show is done in America, why Mr. Frayn hasn’t given license to change the setting from England to the USA. This farce would work in any country that has a touring company and it wouldn’t saddle the actors doing atrocious British accents, and most of the actors onstage can’t do a proper English accent to save their life and this is not a deliberate part of the play. The cumulative accents of the actors in this production go in and out of their accents throughout the play, and you wonder why not just drop the British accent and just do it as a straightforward farce without the audience having to strain to understand what is said on stage?

That being said, just sit back and enjoy the high jinks taking place onstage. As this is an ensemble piece, I can’t help but mention the entire cast: Tracee Chimo, Daniel Davis, David Furr, Kate Jennings Grant, Megan Hilty, Andrea Martin, Rob McClure, Campbell Scott and Jeremy Shamos. All lend their comedic talents to this exhausting farce and it is no small feat. Jeremy Herrin, who last year directed Wolf Hall, keeps the cast moving at a frantic pace. All you have to do as the audience is sit back and enjoy an hysterical evening of high jinks in the theatre.

Edited by Scott Harrah
Published January 18, 2016
Reviewed at press performance on January 17, 2016

‘NOISES OFF’: (left to right) Megan Hilty, Daniel Davis, Kate Jennings Grant, Jeremy Shamos, David Furr & Andrea Martin. Photo: Joan Marcus

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