'Death Becomes Her' Glitters, But Isn’t Gold
Megan Hilty and Jennifer Simard are giving immortal performances, but the production has mortal flaws.
In the glitzy and glamorous world of “Death Becomes Her,” Madeline Ashton and Helen Sharp are peak frenemies. They’re lifelong competitors, both vying for fame in a way that makes you wonder whether it’s for their own self-enjoyment or just to beat the other.
Yet they’re both fighting a bigger battle: aging as women in the modern world. And they’ll risk anything, even their own lives, to hold onto their youth.
These two conflicts are what drop us into “Death Becomes Her,” a new musical comedy based on the 1992 film of the same name. We’re lured in with an enchanting entrance from Michelle Williams, here playing the magical Viola Van Horn in a glamorous gown (costumes by Paul Tazewell), who tells us of a potion that promises of eternal beauty.
This glimmer — and Williams’ slinky voice — draws us into the production. But when we get a closer look, there’s not much between the surface.
It’s not that the glam is bad to look at or listen to. Instead, this show shines both in its stars — the ever impressive Megan Hilty and Jennifer Simard — and production, filled with dazzling sparkly sets (Derek McLane) and outlandish costumes.
From her grand entrance, Hilty shows off not just her spectacular vocals, but also her ability to dance and pull off five seamless costume changes as her character Madeline sings “For the Gaze.” Yes, there’s a double meaning; the show is punnily self-aware that the movie it’s based on has a gay cult following. It treats them, too. Hilty’s costume changes include icons Liza Minelli and Dorothy from “The Wizard of Oz,” and the song ends with a chorus of men dressed in rainbow glittering assless chaps. Our audience was screaming during the applause, nearly out of their seats.
Once the pedal is on for spectacle, the show pushes on the gas to rev up the diva-offing. We meet writer Helen Sharp, a buttoned up Jennifer Simard who responds to Madeline’s jabs with hilariously deadpan remarks. Their banter is clever, thanks to one-liners from the movie and quick-witted lyrics (written by Julia Mattison and Noel Carey).
Yet the glitter begins to fade as the plot becomes thicker, and we’re left more with confusing pacing and half-baked emotion. Madeline flirts with Helen’s fiance, Ernest Menville (a perfectly silly Christopher Sieber). “Tell me Ernest, how much have you seen of me, cinematically?” she coos. “The roms, the coms, the rom-coms, the dramas, the dramedies...”
“The straight-to-DVDs,” Helen deadpans back.
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It seems to be part of their usual feuding, fit with a catchy song and clever lyrics (that went viral on my TikTok, at least). Yet just after the song’s button, we watch Madeline and Ernest get married. In what feels like a fever dream, Madeline has successfully stolen Helen’s fiance. Helen goes insane as a result, landing herself in a mental institution. I wondered if this was going to finally be the point where we got something a bit more real—maybe some emotional insight into Helen’s spiral—but instead we get Simard on her comedic game, playing a creepy, obsessed institutional patient. It’s a chance for true feeling, instead dwindled down for laughs. We’re not really rooting for Helen, but instead just impressed by Simard’s range of performance.
This rollercoaster ride that chooses to actively avoid sincere feelings makes “Death Becomes Her” hard to fully invest in. Jumping ten years later, we get one fleeting moment with Madeline, who starts to panic about her age and appearance after reuniting with Helen (who looks absolutely incredible). In a moment of desperation, Madeline is given one of the show’s real—and only—true emotional moments. We get a peek into the uphill battle she faces with getting older, fading into obscurity. It’s a brilliantly acted turning point of the show; Hilty is at her best.
The show-defining choice made, Madeline decides to follow a mysterious card she received at Helen’s party and visit Viola Van Horn, who promises to make her young forever if she drinks a magic potion. But once the magic hits, we’re right back up to the surface.
Instead, “Death Becomes Her” becomes fun when we’re willing to float above deeper meaning. If we can forget the moral dilemmas underneath and the lack of character development, there’s no shortage of entertainment. We learn both Madeline and Helen have taken the secret potion that makes them young forever — and it’s made them immortal, too. They can’t die, but they can definitely hurt each other. The show devolves into the wacky stunts the movie is known for.
In the first, Madeline falls down the stairs in slow-motion, an obvious body double that crumples on the floor. The motions are impressive—the body double actor, Warren Yang, is a former D1 elite gymnast—even if see-through. There’s the famous spinning of Madeline’s head, which then flies off after Helen hits her with a shovel, then the splitting of her head and body, which comes off as smart and well-played. But there’s also a physical fight between the women that’s quite obviously between two of the male ensemble members.
Is it camp or lazy? It depends on your attitude and your investment.
Cult fans of the show will certainly love this adaptation. But as an audience member without previous appreciation for the story, the facade of beauty became an unfortunate metaphor for “Death Becomes Her” as a production. What is seemingly magic is a cheap trick potion. Just as Ernest stitches up Helen and Madeline to hide the damage they’ve done to one another, the show stitches up the emotional depth with punchy one-liners and silly songs (including a mid Act II-drunken Ernest number, complete with singing paint cans). It’s fun and impressive, but there’s no heart keeping it going.
The show’s ending instead feels like Helen and Madeline’s ending—in that it doesn’t really exist. While their battles with each other and aging may have ended, there is no lesson, no character arc. The women are instead a beautiful facade, singing smart songs in lavish costumes that are impressive to listen to and look at, but with dead material underneath.
How to See ‘Death Becomes Her’
“Death Becomes Her” is on Broadway now! If you’re a fan of the movie or want a fun diva-off night, it’s a great pick. If you’re looking for something with a little more depth, well…
How I found out about it: At Elsie Fest, Darren Chris’ Broadway musical festival! One of the writers came to sing a teaser.
Why I went: I’d seen videos of Hilty and Simard in this show online and was instantly intrigued, but otherwise wasn’t completely motivated until I saw an opportunity for $20 tickets. Is there anything I won’t see for $20?
How I got tickets: My best friend, Theatre Development Fund. They also have a $40 lottery and $35 in-person rush tickets.
Other Theater I’ve Seen…
One more thing — welcome to a new section of this newsletter! At this point, I’m seeing an average of at least a show a week (awesome), which means I always don’t get to write full reviews, but I want to tell you about them. Here’s a round up of what else I’ve seen recently, and why you might want to see it (or avoid it…):
Purpose
Branden Jacob Jenkins (who wrote “Appropriate,” one of my top shows of 2023) has done it again. His new play is a gripping, dynamic family drama about a Black family’s political legacy. It’s funny, it’s gasp-out-loud shocking. It’s also three hours long, but feels nothing like it — so incredibly engaging, hilarious, but also filled with meaning.
How to see it for cheap(er): If you’re on TDF, this show has frequently been on there. There’s also digital and general rush tickets for $45. I saw this through ushering (shout-out Emily!) and only mistakenly pointed people to the wrong row like three times.
Redwood
I only paid $20 for this show, and I don’t think it was worth it. Idina Menzel’s newest endeavor takes her to new heights — she does some belting while climbing up a giant fake tree — but the show’s music and story is half-baked, filled with cringy lines and flat characters. I might feel so strongly against this one because I also felt literally sick leaving the theater because of the show’s projections, which made me nauseous.
How to see it for cheap(er): I don’t even want to give a hack because I don’t want to recommend this one. But if you don’t get motion sick like me and you want to see Idina in a tree, this one is on TDF often and they have a $54 lottery and $44 in-person rush.
There’s one more I’ve seen since my last Substack, but you’ll have to wait for the review…