The excellent Megan Hilty and Jennifer Simard garnish the comedy of “Death Becomes Her” with sharp, outrageous brilliance in this rollicking Broadway musical adaptation of the 1992 movie.
How will they do the fall down the staircase? What about the neck and body moving in opposing directions, the beheading, the bullet-hole through the stomach, the general camp lunacy that flows through the original movie?, the musical sees life-long frenemies Madeline and Helen fight to beyond-death in their body-punishing and mangling struggles to stay young and beautiful, and to one-up each other.
Derek McLane’s sets are similarly maximalist and cartoon-gothic, including the sweeping staircase of Madeline’s mansion, where she meets what doesn’t turn out to be her fate, and the subterranean, pillared Studio 54 that is Viola’s lair. says not to forget the Make-A-Wish kid seeing her the next day, Madeline asks if they can put it off a week, leading to a pause and a nervous “Well” from Stefan.
Helen becomes a success herself, and glamorously transformed from mouse to siren. Reuniting with Helen at her book launch, she notes, “My publicist said Madeline Ashton will go to the opening of an envelope. Then I said, ‘It’s just a shame when they open it, they never read her name.
As Ernest whispers in horror when he realizes what is unfolding : “They’re dead, but they’re alive!”“I woke up and I was in this tiny space and it was pitch black and I started screaming but no one cared,” Madeline says of her experience of temporarily being installed in the morgue. “It was like when I did that Black Box Theater in Miami... We had to wash our own costumes.”
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