The North American tour launch of Tony-winning musical comedy Death Becomes Her at Playhouse Square Theater runs through October 3. Directed (and choreographed) by Christopher Gattelli, with book by Marco Pennette and music and lyrics by Julia Mattison and Noel Carey, it’s based on the 1992 film of the same name.
Forget Death, aging doesn’t become her either. At least, that’s how actress Madeline Ashton (glamourous Jackie Burns) feels.
When Ashton’s long-time “frenemy,” novelist Helen Stark (an intense Kristen Beth Williams), drops by to brag and to show off her fiancé (plastic surgeon Ernest Menville—a comically naïve Ken Marino), Ashton seduces him and drives Stark mad.
Time passes. Ashton ages.
When mysterious Viola Van Horn (a spooky Nasia Thomas) promises eternal life and youth, Ashton decides to take a chance and drink Van Horn’s magic potion. It works—kinda. By the end, we learn that death might not be the worst thing.
I’ll stop right there because if you (like me) haven’t seen the original film, a surprise is in order. But you don’t go for the plot; it’s a musical, right?
Yes. The cast worked seamlessly together, exploring the limits of chemistry and magic via songs and (even more) dance routines—the latter designed to display both human bodies and capabilities. (Special cheers for David Houle in a fun scene involving a circular staircase.)
Other ensemble members included Nick Cortazzo (with an impressive riff as a famous opera star), Louis A. Williams, Jr., Michael Buchanan, Alicia Albright, Calvin Cooper, Tiki Hopson, Karma Jenkins, Tyler Jimenez, Bryn Purvis, Jordan Wayne Vasquez, and Candace J. Washington.
There’s also music glitz and glamour, thanks to costume design by Paul Tazewell, scenic design by Derek McLane, lighting design by Justin Townsend, and sound design by Peter Hylenskill.
The small band, conducted by Matt Doebler, sounded perfect (and didn’t set off my “loud” noise alarm—thank you, thank you, thank you).
BOTTOM LINE: Death Becomes Her lives up to its tag as an award-winning musical and offers a philosophical surprise or two.
[Written by Laura Kennelly]