Within the new Broadway musical “Death Becomes Her,” a so-so 1992 film will get a shocking makeover.
Headlined by Meryl Streep, Goldie Hawn and a slew of particular results, the movie adopted two useless ladies of their determined quest for everlasting youth and wonder — with a supernatural twist. Directed by Robert Zemeckis, the black comedy earned blended critiques and middling B.O., however there was one thing about its mixture of camp and surreal, body-contorting particular results that developed a following over time.
Now, in a significant glow-up produced by Universal Theatrical Group, the story has been reconceived, refreshed and reborn by a savvy inventive workforce led by director Christopher Gattelli as an enormous Broadway musical. The transformative distinction between the 2 is that the just-skin-deep characters at the moment are free to be far more extravagant in a musical-comedy approach — with the accent on comedy — that significantly better matches the audaciousness of the death-defying premise.
The present, which had a run in Chicago, indicators it’s going to be much more entertaining and musically sensible from the beginning. It opens with a glam reveal of Michelle Williams (previously of Future’s Little one) because the mysterious, audience-teasing and extravagantly dressed sorceress Viola van Horn (Isabella Rossellini within the movie), backed by an ensemble of hot-bod dancers all temptingly attired.
It’s shortly adopted by an over-the-top quantity from the fictional musical “Me, Me, Me,” with Megan Hilty merely smashing as narcissistic star Madeline Ashton (Streep within the movie). Belting out “For the Gaze” — pun on the phrase “gays” very a lot supposed — Hilty hysterically reveals the diva’s shameless pandering in addition to her obsession with the highlight.
Humor — each black and camp — is the important thing right here, in contrast to the often-leaden movie which relied on particular results slightly than a pointy script and figuring out comedian course for its wow issue.
Every thing within the musical is fantastically larger and bolder, from Derek McLane’s goth-meets-Hollywood-excess design to Paul Tazewell’s fabulous costumes to Doug Besterman’s lush orchestrations. Charles LaPointe’s wigs are terrific, too. The tuneful rating and witty lyrics are by Julia Mattison and Noel Carey, making a powerful Broadway bow.
The musical’s wickedly humorous ebook is by Broadway beginner Marco Pennette (TV’s “Caroline within the Metropolis,” “Ugly Betty”) who offers the movie far more than a nip and a tuck; he offers it a significant raise. The storyline is cleaner, the characters are clearer, and the tempo and the laughs at the moment are continuous.
The script follows the broad define of the movie: Arriving backstage after Madeline’s present is her longtime doormat of a buddy, Helen Sharp (Jennifer Simard taking over the Hawn position) and her fiance Ernest Menville (Christopher Sieber, in a component performed within the movie by Bruce Willis), a plastic surgeon with an altruistic calling. The voluptuous Madeline steals Ernest away, sending Helen right into a downward spiral.
Ten years later, the growing old Madeline has discovered that her star has fallen and she or he’s resorted to doing infomercials for magnificence lotions, now enjoying the “earlier than” to a supple starlet’s “after.” Helen, however, has blossomed from dowdy to dazzling, and is now a best-selling creator bent on revenge and wooing again Ernest.
Determined, Madeline finds a potion endowing her with everlasting youth — however with just a few Faustian caveats. Now revitalized, Madeline confronts Helen, who has additionally gulped the elixir, and wild smackdowns and realignments comply with. (Illusionist Tim Clothier playfully recreates the movie’s grotesque, neck-twisting battle damages.)
That sense of enjoyable, and ego for its personal sake, is the present’s go-to, with Pennette and firm eschewing deeper which means or morality in its cynical storytelling. There’s no discuss of “inside magnificence,” and even a whiff of sentiment will get the hook. Relying in your comedian tastes, you’re both on board for this final self-importance challenge or not.
Veteran choreographer Gattelli lastly earns his main Broadway directing credit score in an assured and spectacular style, in addition to offering the choreo which ranges from spoofy showbiz schlock to slinky sensuality.
Hilty and Simard are completely paired, with the previous going hysterically broad as Simard affords a contrasting strategy, successfully leaning into the simmering insanity of Helen. Each take advantage of their solo songs: “Falling Aside” for Hilty, “Madeline” for Simard. Collectively, they convey the 11 o’clock quantity, “Alive Collectively,” to withering heights.
Because the milquetoast Earnest, Sieber skillfully performs straight man with loads of comedian response photographs, and will get a star flip in his meltdown quantity, “The Plan.” Williams brings an attractive iciness as Viola and delivers the ability notes from the darkish aspect.
Additionally scoring massive laughs is Josh Lamon as Madeline’s beleaguered private assistant. (Lamon — and Taurean Everett as Viola’s condescending main domo — are a lot greater than the “ensemble” itemizing they obtain in this system credit.)
The present’s potential shelf-life seems to be lengthy for New York in addition to for the highway, ever hungry for a success. In any case, determined goals of youth, magnificence and immortality are endlessly favorites.
