00056: DEATH BECOMES HER (BROADwaY)

January 12, 2025

Death Becomes Her is a new musical based on the 1992 film starring Meryl Streep, Goldie Hawn, and Bruce Willis. And while I have not been a strong fan of musicals based on films because, well, the musical is just retelling the same story using the same songs, (read "The Bodyguard" or "Sister Act" musicals), Death Becomes Her, the musical is different because the original source is a campy comedy rather than a musical film like "Moulin Rouge" or "La La Land." Both were good films, by the way, but Moulin Rouge, the musical, however, is just a horrid amalgamation of cheesy pop songs and tired sentimentality catering to the simplistic mind.  

But I digress. 

I had no expectations about the Death Becomes Her, the musical, except knowing the story was in fact the same as the film, and since I've seen the film and like its twisted/corky comedy, my only hope was to see a musical that at least would take a cue from the comedy. I was not disappointed. The musical was that and more, slap comedy and over-the-top acting, with a doze of tongue in cheek. The director and the actors knew that this comedy needed to be handled with unseriousness seriousness, and they understood the assignment. 

Michelles Williams (formerly a member of Destiny's Child) belt songs and demanded our attention whenever she was on stage as Viola Van Horn, the mysterious woman that sells the "fountain of youth" elixir. Megan Hilty, best known for playing an actress auditioning for the role of Marilyn Monroe in the series "Smash," had the audience cheering, clapping, and laughing out loud as she portrayed Madeline Ashton, the famous aging movie star. Jennifer Simard, best known in the theater circle, was funny, caring, and campy as Helen Sharp, the wannabe writer and Madeline's long time friend and rival. Christopher Sieber, another successful Broadway actor, nominated for a TONY Award for Best Supporting Actor in the musical Spamalot, stole the show with his magnificent comedic timing as the drunk and neurotic Dr. Ernest Menville. Props also go yo Taurean Everett as Chagall and Josh Damon as Stefan. Both, shine in their respective roles. 

(Right: Megan Hilty, Left Jennifer Simard)

Breaking the fourth wall from the start, actors wink at the audience whenever an obvious joke or action happened. They delivered lines in an exaggerated way, taking deep breaths, holding the last syllable for a long time or brining the pitch up or way down whenever necessary. They broke line delivery several times as they look at the audience and waited for reactions, they switched their voice tones, sounding like children or cartoonish, and all these choices made the musical enjoyable, entertaining, and fun to watch. 

One of the most entertaining and camping number was sang by Megan Hilty as Madeline Ashton, while performing in the musical "Me Me, Me" she was starring in (yes, a play within a play). The song: "This is for the Gaze," referring to her character as someone that needs to be looked at at all times, yet, the whole song was about "the gays" and oh, how fun it was to watch as the musical number was campy to the max as Hilty not only play Madeline but also became Liza Minnelli and Julie Andrews during the number.

And while many other numbers were entertaining and highlights, the top prize goes to Mr. Sieber when he interpreted "The Plan," a song that is not truly sang but "delivered" when such comedic timing that it comes a lesson in monologue presentation for any aspiring comedic actor. 

The music was lively, fast, and uplifting. The choreography was filled with classic and modern moves, and plenty of acrobatics. The special effects, recreating those from the film, such a broken neck, head twisting all around, big whole in the body, were all there, meticulously planned and one done with excellent.

Death becomes her is a very campy and cheerful musical, one that should be watch by the entire family and one that, when released for performing will, no doubt, be a favorite of many colleges, universities, and regional theaters. 

This production gets three campy snaps all around.