Madeline Ashton and Helen Sharp have never exactly been poster children for healthy female friendships. Throw in a little eternal youth, a questionable potion, a whole lot of plastic perfection, and enough theatrical special effects to make a Hollywood stunt coordinator sweat, and you’ve got the deliciously wicked musical comedy Death Becomes Her, now on tour across North America.
As the national tour prepares to bring its particular brand of immortal insanity to Nashville’s Tennessee Performing Arts Center (505 Deadrick Street), with performances Tuesday, November 3 thru Sunday, November 8, JHPEntertainment caught up with four of the show’s stars: Jackie Burns (Madeline Ashton), Kristen Beth Williams (Helen Sharp), Ken Marino (Ernest Menville) and Nasia Thomas (Viola Van Horn). From divalicious backstage habits and elaborate costume changes to onstage rivalries, supernatural secrets and the occasional giant couch looming overhead, these four have plenty to say about life on the road, playing larger-than-life characters, and the eternal question of just how far one should go to look fabulous.
Based on the 1992 cult-classic film starring Meryl Streep, Goldie Hawn, Bruce Willis and Isabella Rossellini, this Tony Award-winning musical takes the original’s deliciously twisted tale of vanity, jealousy and immortality and gives it a gloriously over-the-top Broadway makeover. With a razor-sharp score by Julia Mattison and Noel Carey, spectacular costumes by Tony Award-winning designer Paul Tazewell, and enough outrageous physical comedy to make defying gravity look like child’s play, it’s a theatrical spectacle that proves some things really are forever. Unfortunately, common sense isn’t one of them. So slather on your favorite beauty serum, leave your mortal insecurities at the door, and get ready for a Rapid Fire 20Q that’s anything but dead on arrival!
RAPID FIRE 20Q WITH MEMBERS OF THE CAST OF DEATH BECOMES HER NATIONAL TOUR
RAPID FIRE WITH JACKIE BURNS, MADELINE ASHTON IN DEATH BECOMES HER
JHPENTERTAINMENT: Madeline Ashton is a woman who believes the world revolves around her. This isn’t your first time playing a diva, after all, as you hold the record for having played Elphaba more than any other actress, with 1,300+ performances spanning two Wicked National Tours and two stints on Broadway. Not to mention, you took on the role of THE DIVA Celine Dion in a six-month run of the off-Broadway fan favorite Titanique! So, I gotta ask… What’s the most divalicious thing about Jackie Burns while on tour with Death Becomes Her?
JACKIE BURNS: Well, every fierce diva needs their little doggie, so naturally I’m traveling with mine! She comes with me everywhere!
JHPENTERTAINMENT: Love it! My own little Desilu is sitting at my feet as I type this. Both Madeline and her longtime frenemy Helen are obsessed with their looks and their attempts to stay young and beautiful… at any cost. Not that you’d ever need it, but just for fun, what’s the craziest beauty treatment you’ve ever heard of?
JACKIE BURNS: I mean, I’d love to go to Korea and try it all!
JHPENTERTAINMENT: Madeline and Helen’s relationship is practically the gold standard for toxic friendships. What is it like working opposite Kristen Beth Williams? And, a month into the National Tour, how are you two keeping that onstage rivalry sharp, unpredictable, and hilariously personal night after night?
JACKIE BURNS: I absolutely adore KB. I think our personalities complement each other on and off stage. We are both game to play and try new things, so it keeps things fresh every night!
JHPENTERTAINMENT: Your Death Becomes Her bio simply begins with “Jackie Burns is doing it For the Gaze!” I believe the appropriate current vernacular response is “Yes! Mother!” So, thank you for that. On the subject of your Act One debut number, the rapid costume changes in “For the Gaze” are mind-bogglingly fast and fabulous. Of the six costumes featured in that number, as well as the others created by Tony-winning costume designer Paul Tazewell, do you have a personal favorite?
JACKIE BURNS: First of all, thank you!!! “Gaze” is the Olympics of costume changes! It’s like getting shot out of a cannon in the best way. If I had to choose one costume, I think it would be the blue dress reveal.
JHPENTERTAINMENT: Having a showstopper like “For the Gaze” right out of the gate sets a high bar for the rest of the show, yet somehow Julia Mattison and Noel Carey, who collaborated on both the music and lyrics, manage to keep the tuneful quips coming. “Falling Apart” is brilliant… lyrically hilarious and vocally, technically challenging. “Remind them who the fuck you are” may be my favorite lyric ever! What’s one lyric or line of dialogue in the show you relish repeating?
JACKIE BURNS: Ooof, that’s a tough question. Julia and Noel have written some of the most brilliant lyrics I have ever heard. To pick one is next to impossible. Every night a new one hits me. But off the top of my head… “Is it the fact that I’m attracted to each kernel of external validation in the world that keeps me insecure to sell me needless crap. Or is it something new.”
RAPID FIRE WITH KRISTEN BETH WILLIAMS, HELEN SHARP IN DEATH BECOMES HER
JHPENTERTAINMENT: Helen Sharp begins as the woman who has been wronged and underestimated, but revenge has a way of bringing out someone’s inner diva. While preparing for the current national tour, what helped you shape your version of Helen Sharp?
KRISTEN BETH WILLIAMS: Honestly, the blueprint of this character, established by Goldie Hawn in the film and Jennifer Simard on Broadway, was the perfect guideline to help shape my version of Helen. Of course, I am not either one of those incredible women, so I’m never trying to be either one of them or do exactly what they did. I can only do what I do best. I love delving into a character (figuring out what makes them tick, what drives them) and letting those discoveries inform my character choices. Helen is delightfully unhinged, and it is incredibly fun getting to step into her shoes eight times a week.
JHPENTERTAINMENT: You and Jackie Burns get to turn a decades-long grudge into theatrical gold. How do you build that combustible chemistry with Jackie, balancing the genuine history between Madeline and Helen with the sheer joy of watching these two women try to destroy each other?
KRISTEN BETH WILLIAMS: Jackie and I have such “girl crushes” on each other. We have a great relationship offstage, and I think that translates to what audiences see onstage. Madeline and Helen are smart, witty, and absolutely cutthroat with each other. The fact that they end up spending eternity together is icing on their karma-cake. Jackie and I truly have the best time going on this journey together every night.
JHPENTERTAINMENT: Helen’s transformation is one of the story’s great turning points, and the musical takes the physical comedy and special effects to a whole (or should I say ‘hole’) new level. Without giving away the tricks of the trade, what has been the most challenging or surprising part of making Helen’s increasingly unconventional condition work onstage?
KRISTEN BETH WILLIAMS: One of our colleagues asked me a similar question in rehearsal…she asked, “is it weird that every time you come onstage you’re a different version of this character?” Yes and no. That’s one of the most challenging parts of playing Helen, but it’s also the most fun. The audience gets to see her at every point in her journey. The challenge for me is making sure I remember where in the arc I am and staying truthful to what Helen is going through at each point.
JHPENTERTAINMENT: The original movie is a beloved pop-culture touchstone, but the musical gives Helen a voice — quite literally — through a score that lets her tell her story in a new way. How has the music deepened your understanding of Helen, and is there a particular number that reveals something about her you particularly enjoy?
KRISTEN BETH WILLIAMS: Julia Mattison and Noel Carey have given us such an incredible score. Their lyrics are smart, the tunes are catchy…it’s everything you want in a musical. I love all of Helen’s songs, but I think a particular fan favorite is “Madeline.” I had a fan (of the show) stop me at the stage door the other day and tell me I really looked like I could escape a mental institution. I think that’s one of the best compliments I’ve ever received! #achievementunlocked
JHPENTERTAINMENT: Within the plot of Death Becomes Her, Helen has authored a glamorous lifestyle guide. If you were to write a book, what would it be titled AND what would it be about?
KRISTEN BETH WILLIAMS: Yes, the book title in the film is Forever Young. The book title in the musical is Hollywood Ending, which is funny because there has recently been a book released with that same title (by John Green). If I were to write a book, and let’s say I was keeping with Helen’s theme of writing a memoir, I would call it Cover Girl (with the subtitle “tales of a Broadway understudy”).” If I were to write a work of fiction, it would either be historical fiction, romantasy, or a murder mystery. But I think I’ll leave the writing to the writers.
RAPID FIRE WITH KEN MARINO, ERNEST MENVILLE IN DEATH BECOMES HER
JHPENTERTAINMENT: Audiences know you from your many television and film roles, including my personal favorite, your work on HBO Max’s The Other Two. Now you’re taking on Ernest Menville in Death Becomes Her. While you’re no stranger to the stage, it’s been a minute since you appeared in the 1992 stage adaptation of A Few Good Men. What has surprised you most about your return to live theatre, an effects-filled, grand-scale musical, no less, where there’s no editing, no second take, and absolutely nowhere to hide when the comedy goes gloriously off the rails?
KEN MARINO: I think I’d forgotten how much you have to be there for it. You can’t say, “We’ll fix that in post.” If a laugh comes late, or something goes a little sideways or I do something dumb because I’m a big dummy, everyone has to figure it out together. And that’s kind of great. The audience isn’t watching the same show every night. They’re part of the weather and the weather changes every night, which I love.
JHPENTERTAINMENT: Ernest finds himself caught between Madeline Ashton and Helen Sharp, two women whose capacity for revenge is matched only by their determination to look fabulous doing it. What’s it like sharing the stage with your two leading ladies, Jackie Burns and Kristen Beth Williams?
KEN MARINO: Jackie and Kristen are both so good. They’re funny, they’re generous, and they’re incredible at what they do. They make it look so easy, I’m learning a lot from them. I’m lucky to be in scenes with them. Ernest may be having a rough time, but I’m having an incredible time at work watching them work. And on top of that, I also get to watch Nasia Thomas perform every night, which is like this beautiful gift. Her voice is silk. I feel very lucky that I get to work with these three enormously talented women. I’m mostly there to be the tall one and stay out of the way.
JHPENTERTAINMENT: What have you discovered about Ernest that makes him more than just the poor guy caught in the middle of an immortal feud?
KEN MARINO: His name is Ernest, and he really is earnest. He cares about these women, he wants to do the right thing. He just tends to figure out what’s happening a few seconds after it’s already happened. He’s always a couple of steps behind, trying to catch up and hoping he can still fix it. That feels very human to me. And very… Ernest.
JHPENTERTAINMENT: This isn’t exactly a minimalist living-room musical. Between the elaborate staging, rapid-fire physical comedy and mind (and body)-bending special effects, the production has a lot happening around you. What’s been the biggest adjustment in learning to perform within a spectacle of this scale, and have you had any close calls with the theatrical magic in the month since you guys set out on the road?
KEN MARINO: The biggest adjustment is just learning where to be, when to be there, and then doing the scene like it’s all perfectly normal. There’s a lot happening around you, and the crew is so precise and so good at what they do. I haven’t had a real close call, thankfully. But sometimes you’re standing in the wings with a giant couch hanging over your head, thinking, “I know this is safe, but also, is this giant couch hanging over my head going to crush me tonight?” That keeps you present.
JHPENTERTAINMENT: Without giving away Ernest’s ending in the stage musical, let me just ask you one final simple question… While Madeline and Helen are obsessed with artificial perfection, Ernest seems to eventually find true fulfillment in the simple joys of life. What does fulfillment look like to you, Ken?
KEN MARINO: My family, my friends, getting to do work I care about, living in the moment and being able to laugh a lot. Oh, and being able to sit down and eat good food without checking the time. I like eating food and I like taking my time when I’m doing it. That’s a pretty good day. I think fulfillment is less glamorous than we expect. Which is good, because I’m a big dummy and not particularly glamorous.
RAPID FIRE WITH NASIA THOMAS, VIOLA VAN HORN IN DEATH BECOMES HER
JHPENTERTAINMENT: Let’s just get into it. Don’t tell Madeline or Helen, but from her first pivot on stage in that glorious amethyst crystal-encrusted gown, Viola Van Horn proves herself one to watch! So… how much does that dress and coat weigh, and how much fun are you having playing the instigator of all things Death Becomes Her?
NASIA THOMAS: Much like myself, Viola doesn’t really believe in the idea of traveling light. The coat itself is approximately 8 pounds, but the gown underneath is 13 pounds! However, I do believe it’s worth the weight to be able to wear these incredible costumes by Tony and Oscar winner Paul Tazewell! A small price to pay to be fierce! The coat is actually 10-15 pounds LIGHTER than the one used on Broadway. They had to scale it down because it had to be able to tour, and my back is thankful for that! Ha!
Playing Viola is honestly such a dream. To be able to step in and fill the shoes (pumps) of the incredible Michelle Williams is mind-blowing. Also, there’s something thrilling about playing a character who walks into a room and shifts the energy without having to lift a finger. She knows who she is, what she has, and what everyone wants. I’m basically getting paid to be mysterious and glamorous. Sounds good to me!
JHPENTERTAINMENT: Viola may be the one holding the secret to eternal youth, but she’s also the catalyst who sends Madeline and Helen’s rivalry into overdrive. How do you approach being the formidable force between two larger-than-life personalities while ensuring Viola remains a fascinating character in her own right?
NASIA THOMAS: I think what’s really cool about Viola is that she’s not in competition with Madeline and Helen. While they are competing with each other, she is playing an entirely different game. And like Viola would say, you don’t compete where you don’t compare lol!
I approach her with confidence, control, and some humor on the side. She has to be likable. I don’t believe she is the person that comes off unapproachable because she’s mean or scary. I think she’s the one people WANT to be around because of her magnetism and personality. I want people to feel like she’s the cool girl people want to be like and also want to grab a drink with. She doesn’t need to be the loudest person in the room in order to get her point across, because she already knows she’s the most powerful person in the space. It’s so fascinating when you don’t feel like you need to prove yourself. And that’s a lesson that I am learning from playing Miss Van Horn.
Tactic? There are so many layers, ya know? Some would say manipulation, I say seduction of sorts. She knows exactly what buttons to press and how to press them. She’s really just giving them what they want, and they have to learn the lessons and consequences that come with it by themselves. After all, she did give them a warning.
JHPENTERTAINMENT: This production is packed with illusions, spectacular transformations and technical wizardry that practically dares audiences to question what they’re seeing. How much coordination does it take to make Viola’s magical world feel effortless, and is there a particular stage effect that you especially love being part of?
NASIA THOMAS: I honestly owe that to all of the brilliant people who are working behind the scenes to help create this world. Everyone from stage management to wardrobe to lighting to hair to makeup to props to scenery, to sound, to illusion. Truly everybody is essential in creating this world. So much so that I don’t really have to do anything but bring the craft and the storytelling to the center of it. I think one of the coolest things about live theater is that our job as performers is to make the audience forget that there is so much machinery that’s happening in order to create this world. All they have to do is sit back, relax, and believe in the magic.
My favorite illusion that I get to be a part of is at the very end of the show. I don’t want to give it away because I don’t want to spoil the magic. But hearing the audience go crazy every night when it happens is so satisfying.
JHPENTERTAINMENT: The potion Viola offers comes with a rather significant catch, and the musical turns that bargain into a wonderfully theatrical exploration of beauty, power and mortality. What do you think Viola understands about the price of eternal youth that Madeline and Helen don’t, at least initially?
NASIA THOMAS: I think that Viola understands that there is a difference between living forever and truly just living your life. Madeline and Helen get so wrapped up in their competition and their vanity that they don’t stop to consider what living forever actually looks like and what it means. They’re too focused on the potential of what they could gain versus the sacrifices that they have to make in order to get there. They aren’t stopping to think that forever is a very long time to think about their decisions.
I also think in order for Viola to be successful at selling the potion, she has to understand the idea of humanity and all the things that make humans the complex, beautiful beings that they are. Things like their insecurities, vanity, the need to be desired, validated, and wanted. And also the price that people would pay to get those things. While this show is a fun, hilarious good time, I do think that it leaves you with the question of how much value we place on appearance and desirability, and what sacrifices big or small are we willing to make in order to achieve and maintain “perfection.” And the thing is, we all know that living forever doesn’t cure your insecurities or your desire to be validated, etc. It kind of just gives you an eternity to have to deal with it. Ha!
JHPENTERTAINMENT: Viola has the kind of secret that could make her the most sought-after woman in Hollywood, Broadway and every beauty clinic in between. If you could borrow one of her supernatural abilities for 24 hours, what would you choose, and what would you absolutely refuse to do with it?
NASIA THOMAS: Honestly, I would borrow her ability to wake up and be completely flawless. Doing eight shows a week while also trying to be a fully realized human being outside of this job is quite the task. Being able to wake up in the morning flawlessly and know that I can get through my day effortlessly sounds like a dream.
Having just kicked off the National Tour in September, Death Becomes Her brings its wickedly entertaining fun to TPAC’s Jackson Hall November 3–8. Whether you’re a longtime fan of the original film or simply someone who appreciates a little murder, mayhem and magnificent musical theatre, this is one beauty treatment that comes with a whole lot of theatrical bang for your buck. Expect dazzling costumes, outrageous comedy, spectacular stage magic and two women whose definition of happily ever after could use a little adjustment. After all, youth may be wasted on the young, but revenge, apparently, is forever. And in the world of Death Becomes Her, looking fabulous while falling apart is par for the course.
Performance schedule is as follows: Tuesday, November 3 thru Saturday, November 7 Evening performances at 7:30 p.m. Saturday, November 7 matinee at 2p.m., Sunday, November 8 matinee at 1p.m.* and a final Music City performances Sunday, November 8 at 6:3 p.m. (*The Sunday, November 8, 1 p.m. performance offers ASL interpretation, open captioning, braille programs and audio description.)
Ticket prices vary by seating location and availability. For current prices, seat availability and online ticket purchases, CLICK HERE. For tickets and additional information, visit TPAC. Not in Nashville but want your chance to relive the magic of this family favorite? CLICK HERE to check out future dates as the National Tour continues with current dates set through September 2027. You can also follow Death Becomes Her on Insta, Facebook, TikTok, X and YouTube.
Following Death Becomes Her, Tennessee Performing Arts Center‘s Broadway at TPAC season continues with A Beautiful Noise: The Neil Diamond Musical on stage at Jackson Hall January 5-10. CLICK HERE for tickets. Follow TPAC on TikTok, Instagram, YouTube and Facebook.
As always, if you wanna follow JHPEntertainment to find out who I’m chatting with for my next Rapid Fire Q&A, or for my take on the latest local and national theatre, music, arts and more, visit JHPENTERTAINMENT.com or find us on Facebook, Insta, Threads and X.