‘Death Becomes Her’ is Broadway’s Funniest Musical
The brilliant musical adaptation of "Death Becomes Her" is the drop-dead, must-have ticket of the Broadway season.
The secret to eternal youth will always be elusive. So if that’s what you seek, you’d better keep your Botox provider on speed dial and a good moisturizer within reach.
That’s the bad news. Now for some even worse news: Broadway’s newest offering, Death Becomes Her, is so damned entertaining that you’ll have to schedule an appointment for laugh line removal once the final curtain falls at the Lunt-Fontanne Theatre.
But fear not, it will all have been worth it, for you’ll find yourself floating out the doors, rejuvenated and revived by this well-crafted, clever musical based on Robert Zemeckis’ 1992 movie.
By now, we’ve seen far too many films from the eighties and nineties jump from celluloid to center stage with dismal treatments that have fizzled at the box office. Death Becomes Her is not among the disappointments.
Composer/lyricists Julia Mattison and Noel Carey and book-writer Marco Pennette have taken the camp factor up several notches with this stage adaptation that incorporates elements of Wicked, What Ever Happened to Baby Jane?, television’s Dynasty, and nearly any Mel Brooks movie. Yes, it’s that zany.
Madeline Ashton (Megan Hilty), a self-absorbed actress, is desperately clinging to relevance after her latest film, Space Jam 3. Her frenemy, Helen Sharp (Jennifer Simard), plots revenge after Madeline steals her fiancé, Ernest Menville (Christopher Sieber), a cosmetic surgeon.
“I thought she was, like, your oldest friend,” Ernest asks Helen after the two leave Madeline’s opening night show. “Oh, she is. I love Mad. Love her like a twin. Who stole my nutrients in the womb,” Helen deadpans. The writing only gets sharper and more biting from there.
The two leading ladies miraculously age backward after an encounter with Viola Van Horn, a seductive and mysterious socialite with a purple potion that promises a forever young glow and beauty that never fades.
Played with authoritative elegance by Michelle Williams of Destiny’s Child fame, the Van Horn is a delicious role for any ingenue who enjoys being adorned in jewels while surrounded by scantily clad dancers. Williams’ voice drips with sexiness, making it impossible not to be seduced by her alluring elixir.
How long Williams is contracted for her stage role is unclear, but it’s a safe bet that producers and casting agents will employ stunt casting when searching for the next Van Horn. It’s a role custom-made for pop stars.
By now, theatergoers know what a force Megan Hilty is. Mattison and Carey have gifted her with some dynamic music and Pennette has provided her with some juicy and all-too bitchy lines. Initially, one might think that this is Hilty’s show — until Simard breaks loose halfway through the first act.
A two-time Tony nominee, Simard is a scene stealer. Her ability to transition from frump to fierce, paired with her comic timing and vocal chops, is astounding. Together, Hilty and Simard deliver the finest performances Broadway has seen in some time.
Sieber, last seen in Company, once again proves himself to be a solid Broadway performer and has some moments to shine as the hapless doctor torn between two lovers. Josh Lamon delightfully chews the scenery as Madeline’s house helper, Stefan, and is given a hugely funny number in the second act.
Many of the Oscar-winning effects executed in the film are recreated live with wildly impressive creativity and flair by Tim Clothier. Madeline’s fall down the staircase is particularly buzzworthy.
It’s uncommon for stage musicals to be better than the source material, but this creative team, led by director and choreographer Christopher Gattelli, defies the odds. With smart writing, an infectiously tuneful score, gorgeous gothic scenic design by Derek McLane, an endless supply of fabulous costumes from Paul Tazwell, and a phenomenal, awe-inspiring cast, Death Becomes Her is the drop-dead, must-have ticket of the theater season.
Death Becomes Her (★★★★★) is now playing at the Lunt-Fontanne Theatre, 205 W. 46th St. in New York City. Tickets are $100.75 to $319.50. Visit www.deathbecomesher.com.
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