DEATH BECOMES HER BECOMES BROADWAY
I had opposite opinions this week between the opening of the film version of Wicked and the new Broadway musical comedy Death Becomes Her. Wicked outsoared the Broadway version; the movie gave me more heart, warmth, and laughs than I ever got from the original (still running since October of 2003), which struck me as cold, overblown, and mechanical. Conversely, with Death Becomes Her, based on the 1992 picture by Martin Donovan & David Koepp, the new Broadway musical far surpasses the film with more laughs, stronger writing, and impressive illusions.
Megan Hilty (center) and cast
Running 2 hours and 30 minutes, the book by Marco Pennette proves to be a prime example for musical comedy writing, comparable to Tootsie or The Producers. Granted, all of these have the advantage of being adapted from a pre-existing screenplay, but nevertheless, the dialogue is snappier and the character development more entertaining, especially with both the husband and Madeline Ashton’s personal assistant, Stefan. Act II turns broader, filled with slapstick, but given the immortal violence to come, at least the hysterics remain outrageous and funny. Accompanying the book is a splashy musical score by Julia Mattison and Noel Carey that sends-up the musical comedy genre with snippets from other musicals, most notably Funny Girl’s “Don’t Rain On My Parade.”
Megan Hilty, Jennifer Simard, Josh Lamon and Christopher Sieber
Jennifer Simard, Megan Hilty, and Christopher Sieber
Broadway veteran Madeline Ashton (Megan Hilty, whose bio in the Playbill is that of Meryl Streep’s) has aged out of ingenue roles. For years now! Unhappy and exhausted from cosmetic surgeries, her arrogant competitive nature challenges her life-long friend Helen Sharp (Jennifer Simard) and steals her fiancé, a plastic surgeon, Ernest Menville (Christopher Sieber). Years later, after time in a psych ward, Helen returns to take her revenge on Madeline, looking as young and gorgeous as ever. Come to find out, there’s a secret potion that promises an eternity of youth and beauty, sold by the mysterious Viola Van Horn (Michelle Williams of Destiny’s Child fame). Once taken, the blood feud between the two women continues for decades to come, far outlasting where the film ends.
Michelle Williams (center) and cast
Ms. Williams’ Viola takes the biggest turn from the film. She finds her own unique physical mystique that’s very different from the almost nude Isabella Rossellini. Remaining glamorously clothed with a super-model eminence, her first entrance to the last is staged and designed with visual intoxication. The nudity is saved for the large ensemble of Immortals who inhabit Viola’s world of perfection. Not since Chicago has there been such a sexy, seductive dance corps on Broadway. Paul Tazewell’s costumes rival William Ivey Long’s Chicago costumes that celebrate the male and female seductive skin. But Mr. Tazewell goes one alluring step further with his suggestive nudity by celebrating the male, female, and non-binary. (Busily enough, Mr. Tazewell is also the costume designer for the film Wicked.) It’s very likely that he will be winning both the Academy Award and the Tony for his superb, commendable work.
Taurean Everett (center) and cast
As the ego and aged-obsessed diva Madeline Ashton, Megan Hilty has finally been given a star vehicle on Broadway. Yes, she had her turn as Glinda in the Broadway version of Wicked, and of course in the TV show Smash, but this performance will be a career-turning point that will be remembered for years to come. Without question, she is now a star. Also, giving a well-deserved star-making performance is Jennifer Simard who has stood out in many past ensemble roles, most notably in the recent revival of Company. With this performance, her shining star has never beamed so brightly. After her song early in act one, “That Was Then, This Is Now,” I literally uttered, “Wow.” Her vocal chops as well as her finely tuned, comedic brilliance should finally be acknowledged with a well-earned Tony Award.
Jennifer Simard (center), Megan Hilty, Christopher Sieber and cast
Jennifer Simard and Christopher Sieber
Expert leading man Chris Sieber shines forth as the stolen fiancé/spineless husband who may be the only one who finds a happy ending. Having played opposite Simard in the recent revival of Company, their chemistry together is such a pleasure to witness, as is Ms. Simard with Ms. Hilty. In Act II, Sieber’s song “The Plan” brings about an uproarious staging and boisterous cheers from the audience.
The cast
One more star-making performance to report is that of Josh Lamon as Stefan. His bio is full of terrific credits, but this performance is a standout, expertly skilled in comedic timing. His final song rivals that of Princess Winnifred’s “Shy” in Once Upon a Mattress. I wouldn’t be surprised if he wins a Tony for Best Supporting Actor in a Musical.
Christopher Sieber
The designers are all at the top of their craft and expertise: Derek McLane’s sets with its forced perspective of columns, archways, palm trees, and staircase; Tazewell’s dazzlingly glamour and surprisingly evermore costume changes; and Justin Townsend’s moody lighting. At the top of the list are the illusions by Tim Clothier. There are things seen onstage that I have no idea how they were accomplished. Not only the stunts that are predicted from the film, but additional ones that are simply mind-blowing.
Megan Hilty, Jennifer Simar and Christopher Sieber
Guiding all of these collaborations together into one perfect body is director Christopher Gattelli. His staging is inventive and his pacing spot-on. Perhaps he pushes the slapstick a bit too much in the second act, and he lacks in finding the bullseye for the last moment of the musical, which seems to peter out. The final moment from Ms. Williams is weak as well. But nevertheless, as the exciting 11 o’clock number sings forth, “Siempre Viva!” Always alive, Death Becomes Her is a crowd-pleasing hit that deserves to be around forever — well, at least for a good long time.
The Company
photos by Matthew Murphy + Evan Zimmerman
Death Becomes Her
Lunt-Fontanne Theatre, 205 W 46th St.
2 hours 30 minutes, one intermission
open run
for tickets (on sale to August 31, 2025), visit Death Becomes Her or Broadway Direct
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