‘Death Becomes Her’ Brings Laughter and Glitter to Broadway

If you’re looking for a fun night out that combines sass, sequins, and a dash of the supernatural, ‘Death Becomes Her’ might just be your next ticket. This new musical adaptation of the 1992 cult classic film has landed on Broadway, and it’s serving up laughs by the bucketful.

At the heart of the show are two powerhouse performers: Megan Hilty and Jennifer Simard. Hilty, who you might know from ‘Smash’ or ‘9 to 5,’ steps into the stilettos of Madeline Ashton, a self-obsessed actress who’s as fabulous as she is insecure. In a cheeky move, her bio in the program humorously lists Meryl Streep’s Oscar nominations as her own—a nod to Streep’s original portrayal of Madeline in the film. It’s a fun inside joke that sets the tone for the playful evening ahead.

Simard, a two-time Tony nominee, shines as Helen Sharp, Madeline’s long-time frenemy and an aspiring novelist. The chemistry between Hilty and Simard is electric—they bounce off each other with zingy one-liners and comedic timing that’s just spot-on. Their rivalry is the heart of the show, and they milk it for all it’s worth.

The story kicks off with Madeline stealing Helen’s fiancé, Ernest, a nerdy plastic surgeon played by Christopher Sieber. Fast forward a few years, and Helen returns to Madeline’s life looking absolutely stunning, sparking jealousy and a bit of a meltdown. Desperate to outdo her old friend (or foe?), Madeline seeks out a mysterious potion that promises eternal youth, offered by the enigmatic Viola Van Horn, played by none other than Michelle Williams of Destiny’s Child fame.

Of course, things don’t go quite as planned. Both women end up immortal—but with some side effects that are, let’s just say, less than ideal. Cue the physical comedy and over-the-top antics as they navigate their new (un)lives, dealing with everything from twisted limbs to, well, holes where holes shouldn’t be.

Visually, the show is a feast. The costumes, designed by Paul Tazewell, are all about glitter and glamour, reminiscent of those fabulous ’70s variety shows. Think Cher, Liza Minnelli, and Mitzi Gaynor vibes. The chorus struts around in eye-catching outfits, adding to the show’s campy charm.

Director and choreographer Christopher Gattelli keeps the energy high with lively dance numbers that complement the comedic beats. The choreography plays into the show’s humour, with exaggerated movements and slapstick moments that had the audience laughing out loud.

Now, let’s talk about the music. The score is filled with catchy tunes that keep the story moving, though they might not stick in your head long after the curtain falls. Still, the songs give Hilty and Simard plenty of opportunities to showcase their impressive vocal chops. Hilty’s opening number, a tongue-in-cheek song called ‘For the Gaze,’ sets the stage (literally) for the show’s playful and slightly irreverent tone.

Simard gets her moments to shine as well, especially when her character undergoes her glamorous transformation. Their final duet, ‘Alive Forever,’ is a highlight—it’s a powerful number that brings the house down and wraps up the show on a high note.

While the show is a good time, it’s not without its hiccups. The plot can get a bit tangled as it goes on, and some of the jokes might feel a tad recycled. Michelle Williams, stepping into the role of Viola, seems a bit out of her depth on the acting front, though she gives it her all. Her portrayal doesn’t quite capture the mysterious allure that the character demands, but it’s a minor quibble in the grand scheme of things.

Christopher Sieber does his best with the role of Ernest, but the character often feels like a prop in the battle between Madeline and Helen. It’s a tough spot, but Sieber brings charm and a few laughs to the part.

The story touches on themes like vanity and the obsession with youth but doesn’t dive too deep. If you’re looking for a profound take on these topics, you might not find it here. The show seems more interested in making you laugh than making you think, and that’s perfectly fine.

Absolutely, especially if you’re a fan of the original movie or just love a good comedy. Hilty and Simard are worth the price of admission alone—they’re clearly having a blast on stage, and it’s infectious. The show’s campy, over-the-top style is perfect for anyone who enjoys a bit of theatrical flair.

‘Death Becomes Her’ might not be destined for Broadway immortality, but it’s a delightful escape that offers plenty of laughs and a whole lot of sparkle. So grab your friends, get dressed up, and prepare for a night where the ridiculous meets the fabulous.

At the end of the day, theater is about entertainment, and ‘Death Becomes Her’ delivers just that. It’s a wild ride filled with humor, impressive performances, and enough glitz to light up Times Square. Whether you’re a die-hard theatergoer or just looking for a fun night out, this show is a solid pick.

Don’t go in expecting a life-changing experience or a deep moral lesson. Instead, sit back, relax, and let yourself be swept up in the absurd antics of Madeline and Helen. It’s a reminder that sometimes, it’s okay to laugh at the ridiculous lengths we might go to in the name of beauty and youth.

So, is ‘Death Becomes Her’ unforgettable? Maybe not in the grand scheme of Broadway history. But is it a good time? Definitely. And sometimes, that’s more than enough.