The stage adaptation opened in Chicago in its pre-Broadway tryout, starring Megan Hilty and Jennifer Simard.
The 1992 Robert Zemeckis movie “Death Becomes Her” is the kind of wild, slightly unhinged thriller-satire of Hollywood divas, plastic surgery and the cult of youth that would never get made today, and more’s the pity. It not only grossed $150 million, its famous special effects became a staple of hoot-and-holler gay bar video screens replaying Meryl Streep’s discombobulated noggin and Goldie Hawn’s shot-through body with its peek-a-boo hole.
The main problem is that the love-hate relationship between the two stars is pivotal and you lose track of it somewhere toward the end of the first act. The thread takes far too long to re-engage, partly because the rules of the show keep changing when it comes to, say, the danger of the weaponry or the pain of the betrayals. The second problem is that while the material well serves Simard, Hilty’s starring role is underwritten.
“Death Becomes Her,” which begins with Williams’ Viola rising up from the floor in storyteller mode with a smashing, scene-setting opening number, gets going like gangbusters as we see Madeline’s career falling apart via a fabulously bad Broadway production number and a humiliating, “Bullets Over Broadway”-like advertisement, between which she snipes at the geeky, embittered Helen, whose husband she promptly seduces.
Jennifer Simard, Christopher Sieber, Megan Hilty and Michelle Williams in"Death Becomes Her” at the Cadillac Palace Theatre in Chicago. Megan Hilty and Jennifer Simard in"Death Becomes Her" at the Cadillac Palace Theatre in Chicago. Michelle Williams and Taurean Everett in"Death Becomes Her" at the Cadillac Palace Theatre in Chicago. At this juncture, “Death Becomes Her” leans too heavily into camp; frankly, that’s the easy part and that job’s already done.
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