By RICKY J. DUARTE
While film adaptations of Broadway musicals often succeed (Wicked is currently setting the standard for future stage-to-screen transitions), most screen-to-stage adaptations miss their mark, fade into obscurity and find themselves dead and buried immediately after closing. Such will not be the case in a new musical version of one of the best and most underrated cinematic horror/dark comedies of all time. At long last, DEATH BECOMES HER THE MUSICAL has risen. Following a successful tryout run in Chicago, 46th Street’s Lunt-Fontanne theatre is now home to the most hilarious and horrific show on Broadway. This brand-new musical comedy (“… Revitalized,” in ads), accomplishes what most film-to-stage musical adaptations fail to achieve: it actually makes sense as a musical.
The 1992 cinematic cult classic starred Meryl Streep, Goldie Hawn, Isabella Rossellini and Bruce Willis – all of whom deliver near career-best comedic performances. In many ways, it already feels as though it’s a mere breath away from being a musical itself. The film lives (and dies) in a world of gorgeously outlandish costumes, over the top gothic Hollywood sets and expertly melodramatic performances from its cast. Hell, it even starts out with a gaudy, tacky musical number hilariously delivered from an overly ambitious Streep.
The stage adaptation keeps all the best attributes of the film and makes slight, appropriate deviations from its plot where they’re due. In particular, it expounds on the horrors of the impossible beauty standards put upon women by a world obsessed with youth, beauty and eternal vitality. If this year’s body horror darling The Substance planted its tongue firmly into its cheek, DEATH BECOMES HER THE MUSICAL sticks its tongue out entirely and blows a raspberry at the unforgivable “crime” of aging.
Starring as best frenemies Madelyn Ashton and Helen Sharp, Tony nominees Megan Hilty and Jennifer Simard both utilize the very best of their comedic chops, delivering performances as memorably campy as those of the film’s leads. Here, the relationship between Mad and Hel is treated to a bit more depth and backstory, allowing for Hilty and Simard to put their own spin on their lovably unlikable antiheroes. Keeping the audience on the side of these genuinely awful people is a feat within itself, let alone doing so while singing and dancing, rigged in special effects-laden costumes and sets (more on that later). Each is given ample opportunity to showcase their otherworldly vocal ability, belting their way through show (and heart) stopping number after number. (More on that later, too!)
As Madelyn, Hilty brings a delightfully vapid approach to the role, allowing for an effective shift into emotional rawness when she’s reached the end of her aging, wrinkling rope. Simard plays crazed-by-vengeance alarmingly well, particularly in a transitionary number from frumpy wallflower to sultry sexpot. It appears they’re having as much diabolical fun on stage as the audience is having watching them. For proof – and a chuckle – take a glance at Hilty’s cheeky bio in the Playbill.
As Earnest, the beta male trapped in the twisted, undead love triangle, Tony nominee Christopher Sieber is delightfully pitiful as he drunkenly stumbles through the regrets of the life he could have had. While the character feels underwritten in the first act, the second brings him up to speed just in time for a killer climactic sequence.
Grammy winner Michelle Williams (of Destiny’s Child) plays Viola Van Horne (rather than Rosellini’s Lisle Von Rhuman), the mysterious dealer of the magical substance at hand. The role smartly serves as a bit of a narrative drive throughout. Unfortunately, the performance falls a bit flat in comparison to the show’s other larger-than-death characters. The strength of her vocals more than makes up for it, though, as she effortlessly soars through some of the show’s best numbers, including its opening, “If You Want Perfection.” She’s also gifted some of the best entrances Broadway’s seen in quite some time.
One MVP of the cast who mustn’t go without mention is Broadway veteran Josh Lamon, who plays prissy Madelyn’s “over it” assistant, Stefan. Lamon’s expert comedic timing and earnest sincerity perfectly balances against the ridiculous nature of every other character on the stage.
The question real horror fans are dying to know the answer to is, how do they pull off the film’s iconic, Oscar-winning special effects moments? After all, it took early CGI and an animatronic to twist Meryl Streep’s head backwards and the use of green screen to blow a hole through Goldie Hawn’s torso. While the surprises are too delightful to reveal, they’re all due to a creative team that pulls out every stop when it comes to stagecraft trickery. Illusionist Tim Clothier accomplishes effective, gasp-inducing moments from shrieking, mortified audience members. At times the gags are acknowledged, eliciting laughter and adding to the camp. However, it’s the head-scratching “how the hell did they do that…?” moments that really shine. One particularly clever achievement sparked literal show-stopping applause.
The show’s director and choreographer, Tony winner Christopher Gattelli, knows exactly what this show is supposed to be. From classic Broadway to voguing ballroom, every single dance sequence is a breathtaking splendor. It’s impossible to take this talented ensemble in all at once, so thank goodness they’re utilized well and often. Direction moves at a near-perfect pace, and nary a joke nor gag is missed.
The show’s book by Marco Pennette and music and lyrics by Julia Mattison and Noel Carey absolutely deliver. The dark, comedic tone of the film is only made darker and more comedic, even expanding on some of the film’s most quotable jokes. The book is tight, wasting no time and making each beat in each scene count. Unlike much of modern Broadway, the show features some very memorable music, including a show-stopping duet that’s destined to become an anthem for divas and drag queens alike.
Costumes by Tony winner Paul Tazewell also serve as stars of the show, pulling audible reactions from the audience at nearly every sparkling reveal. Derek McLane’s scenic design evokes the spooky splendor of the film’s art deco/gothic Hollywood setting. As grand and whimsical as it is, it somehow serves to ground the show’s over-the-top characters and plot. Lighting adds a color palate rich in purples, pinks, and turquoises, amplifying the lush and beautiful setting while serving as a visual catalyst for some genuinely ominous atmosphere.
The major reason DEATH BECOMES HER THE MUSICAL works so well is that it stays true to its spooky, horror-adjacent nature. It’s mean-spirited. It’s cruel. (But, like, in a fun way!) Most importantly, it understands its source material, and it understands its audience … namely, the gays. But not just any gays – gays with a dark, morbid sense of humor who love belting, diabolical divas, quick-witted reads, glitz, glamor and the ridiculous idea of impossibly eternal youth. It’s for horror/Broadway gays – the ones who’ve kept the likes of Carrie the Musical and Dance of the Vampirealive all these years. After all, it’s been drag queens and queer cinephiles who’ve kept the film’s goldmine of iconic quotes alive (or unalive?) since its release. Why shouldn’t the show cater to the shady comedic sensibilities adherent to the community who adores it so?
Sinister, sick, hilarious and frighteningly poignant, DEATH BECOMES HER THE MUSICAL is to die for. Amidst all the horrific whimsy of the show’s subject matter, by the time its 11 o’clock number wakes the dead (in a masterclass in belting and blending harmonies – thank you, Simard and Hilty), the show’s heart shines through. And, unlike the leading ladies’, it beats.
DEATH BECOMES HER THE MUSICAL is now open on Broadway. Tickets available now.
