From the teasing presence of the mystical vial encased in a mysterious carved box surrounded by billowing smoke center stage even before the always enchanting and captivating voice of Isabella Rossellini (who appeared in the original film) welcomed the audience to opening night in Music City of Death Becomes Her (at TPAC thru Sunday, November 8), I knew I was in for a fabulous night of musical comedy magic.
Jackie Burns as Madeline Ashton, Kristen Beth Williams as Helen Sharp, Ken Marino as Ernest Menville, Nasia Thomas as Viola Van Horn and the entire ensemble are the only Death Becomes Her cast I’ll ever need. In a show about folks consumed with attaining perfection, I’m here to tell you this entire cast has pretty much achieved it.
When I say “the only Death Becomes Her cast I’ll ever need”, here’s why…At the risk of having my gay card revoked, I must confess that I have never seen the original Death Becomes Her film. Yes, I know of the film…Meryl Streep, Goldie Hawn as frenemies obsessed with clutching to their youth, beauty, fame at any cost, with the unwitting aide of Bruce Willis…but I somehow had never seen the film. I KNOW!!! Listen, apparently I wasn’t the only one, considering the movie’s initial worldwide box-office take was a little over $58 million against its reported $55 million production budget. For a minute, I considered checking out the now-camp classic as research for my recent RAPID FIRE 20Q with the four leads of the National Tour (now at Tennessee Performing Arts Center through November 8). But then I decided I really wanted to go into this one with fresh eyes, and No, I don’t mean post-bleph, though don’t think I didn’t reconsider several elective procedures in light of the beauty-obsessed theme, but I digress.
Prior to Tuesday night’s opening-night performance in Music City, my only exposure to the stage adaptation of Death Becomes Her consisted of a few performance clips via YouTube, a couple musical synopses found on fan sites and a little information gleaned from the tour’s official website. And I’m SO glad I went in, mostly virginal! Based on the aforementioned 1992 Universal Pictures film directed by Robert Zemeckis, the musical adaptation, with a book by Marco Pennette and music and lyrics by Julia Mattison and Noel Carey, takes the deliciously dysfunctional rivalry between two Hollywood divas and gives it the full Broadway treatment. Think eternal youth, questionable life choices, fabulous fashion, a little murder and enough backstabbing to make even the most scandalous episode of Dynasty look like an afternoon tea party. And while the premise might be about the pursuit of eternal beauty, it’s the performances that make this production absolutely ageless.
This marks my FOURTH time seeing Jackie Burns on stage, having previously watched her deliver a record-breaking run as Elphaba in the National Tour of Wicked, as Elizabeth in the National Tour of If/Then, and in the leading role of Studio Tenn’s regional production of Aida in Concert. So, to say I’m a fan is an understatement. I’m sure Meryl Streep was “cute” in the role of Madeline Ashton, but Burns was, well, ON FIRE!
From the moment she appears, Burns establishes Madeline as a woman who considers herself the center of the universe and sees absolutely no reason why anyone should disagree. Her delivery of the show’s witty, rapid-fire, syncopated dialogue and lyrics is a masterclass in comedic precision. She manages to navigate the show’s ridiculously quick-paced exchanges without missing a beat, whether musically or comedically. Her timing is impeccable, her physicality is spot-on, and her ability to switch from self-absorbed diva to hilariously desperate mortal (well, sort of) is simply delicious.
Act One’s “For the Gaze” is a particularly marvelous introduction to the diva that is Madeline Ashton. And sidenote: How absofuckinfabulously perfect that THIS was my live introduction to this particular cheeky, wink-filled anthem! Complete with quick-change wardrobe reveals, a roll call of gay icons and a literal rainbow of wardrobe hues and lighting cues, the number is an unapologetic celebration of visibility, individuality and the art of being seen. Even better, the final costume incorporates the inclusive colors of the transgender flag. All of this happening while my home state of Tennessee was voting to turn blue, well, OK…at least purple! God, I love theatre with a message about acceptance and change! And when that message comes wrapped in sequins, fabulous choreography and a diva who knows how to work a damn room, even better! And Burns’ Madeline does it all with style, snark and so much more.
Kristen Beth Williams‘ Helen Sharp is every bit the worthy adversary Madeline deserves. Williams gives Helen a wonderfully layered transformation, taking her from the woman who has spent years being overlooked to one who discovers that revenge, like a good beauty regimen, can be remarkably rejuvenating. During our recent RAPID FIRE 20Q, and keeping with a plot point of the musical, I asked Kristen Beth that if she, like her onstage persona Helen Sharp, were to pen a tell-all, what would it be called and what would it be about? Her response? “I would call it Cover Girl (with the subtitle ‘Tales of a Broadway Understudy’).” Well, after witnessing her go toe-to-toe with Burns’ Madeline, rest assured that tome deserves a new subtitle: “From Understudy to Diva in One Quick, Campy Musical!”
Williams is a terrific match for Burns, and the two create the sort of combustible chemistry that makes watching their every exchange an absolute joy. Their rivalry is deliciously petty, gloriously exaggerated and delivered with the sort of precision that makes even their nastiest exchanges seem like a perfectly choreographed dance.
Ken Marino’s Ernest Menville is perfectly nerdy and nebbish, providing a welcome dose of bewildered humanity amid all the larger-than-life personalities and supernatural shenanigans. Marino’s comedic timing and physicality are particularly effective, especially in a scene when Ernest attempts to assert himself by standing up to Madeline. Bless his heart! He’s literally shaking in his shoes, knees comedically, exaggeratingly knocking as he tries to summon the courage to challenge a woman who could probably reduce him to dust with one perfectly timed eye roll…or her ever-handy shotgun! Marino makes the most of every opportunity for physical comedy, and his character’s hapless predicament is one of the show’s recurring delights.
Act Two’s “The Plan” is another clever musical highlight, featuring a drunken, hallucinatory duet with everybody’s favorite 70s pinup. Trust me, you’ll have to see the show to fully appreciate this one. Let’s just say that between the unexpected appearance, the alcohol and Ernest’s questionable state of mind, this is one fantasy sequence that deserves a place in the musical comedy hall of fame.
And then there’s Nasia Thomas as Viola Van Horn. Believe me…it feels weird even saying…and then when taking about this diva. It’s tempting to refer to Thomas as a scene-stealer, but she’s so much more than that. Every second she’s on stage, she’s commanding it. How absolutely fitting that Thomas opens the show with the appropriately titled “If You Want Perfection,” because she truly is!
With a commanding stage presence, powerhouse vocals, the first of many Tony-winning looks courtesy the show’s costumer, Paul Tazewell, and an effortlessly glamorous persona, Thomas immediately establishes Viola as someone who doesn’t simply enter a room; she owns it (well, at least 51% percent…gotta love it when I can insert a gay pop cuture reference in my review). There’s a confidence and magnetism to her performance that makes the mysterious purveyor of the potion every bit as fascinating as the two women whose lives she turns upside down.
During intermission, my friend who joined me for the evening and I were discussing our thoughts thus far when we arrived at the same conclusion: Thomas’ Viola lands somewhere between Heather Headley and Angela Bassett’s portrayal of Tina Turner. That’s quite the company to keep, but Thomas has the vocal firepower, commanding presence and sheer star quality to make the comparison feel entirely appropriate. Every time she’s on stage, you find yourself wanting more.
In supporting roles, special mention goes to, and attention must be paid to Louis Williams Jr. as the beguiling Chagall, whose presence adds another delicious layer of intrigue to the proceedings, and Michael Buchanan as the fabulously put-upon Stefan. Both make the most of their respective roles.
Of course, a production this visually extravagant needs an ensemble capable of matching its leading ladies, and this company is nothing short of spectacular. The ensemble features Calvin L’Mont Cooper, Nick Cortazzo, Takia “Tiki” Hopson, David Houle, Karma Jenkins, Tyler Jimenez, Caroline Kane, Bryn Purvis, Jordan Wayne Vasquez and Candace J. Washington. The majority portray the Immortals, recipients of Viola’s death-defying, perfection-achieving potent potion. Dressed, or barely dressed (gotta love a seemingly revealing combination of velvet and sheer tulle), they appear throughout the show like a chorus of seductive, otherworldly beings. Sauntering across the stage with an almost hypnotic presence, they provide a visual feast that is impossible to ignore. Not gonna lie, I found myself watching the ensemble enchant the audience every time they appeared. Body-ody-ody, indeed!
Of a little double-duty Tyler Jimenez’ Chance, the dim-witted dabbing valet, is another entertaining ensemble turn. When Burns’ Madeline returns the dab, I lost it! Elsehwere, Bryn Purvis definitely puts the “Z” in Liza (see the show, get the reference) and with some clever costuming, wigs and a bit of whimsical fight choreo McKinley Knuckle and David Houle step into diva territory for a not-to-be-missed moment that recreates one of the film’s most iconic scenes. (Again, I may not have seen the film, but unlike Helen, I’ve not been locked away in an institution, so yes, I know the scene). The choreography and timing required to pull off this sequence are impressive, and the resulting comedy is priceless.
Musically, Julia Mattison and Noel Carey’s score offers plenty of opportunities for the cast to show off their vocal talents while keeping the story moving at an entertaining pace. From the opening “If You Want Perfection” to “For the Gaze” and the wonderfully mischievous “The Plan,” and truly every single number from start to finish, there’s plenty to enjoy. And then there’s the show’s book by Marco Pennette, which deserves its own standing ovation for delivering dialogue that’s as clever, caustic and catty as the women at its center. Fair warning to anyone who does me wrong henceforth: be prepared to hear me endlessly quote “That…was…rude…That was pretty fucking rude” from Act Two’s “Hit Me.” You’re welcome.
Visually, the production is every bit as extravagant as its premise demands. As alluded previously, Tony Award-winning costume designer Paul Tazewell has created a wardrobe that’s positively to die for, with glamorous silhouettes, elaborate details and enough fashion-forward fabulousness to make a red-carpet event look underdressed. Derek McLane’s scenic design, Justin Townsend’s lighting, Peter Hylenski’s sound design, Charles G. LaPointe’s hair and wig design, Joe Dulude II’s makeup design and Tim Clothier’s illusions all contribute to a visually intricate production filled with theatrical surprises.Christopher Gattelli, who directs and choreographs, has assembled a production that balances the show’s rapid-fire comedy with elaborate musical numbers, physical comedy and some genuinely impressive special effects. The illusions are particularly effective, and the show’s signature physical sequences demonstrate just how much ingenuity goes into creating theatrical magic. There are moments when you may find yourself wondering exactly HOW they pulled something off. And that’s precisely the point.
What makes this touring production so enjoyable is its complete willingness to embrace the absurdity of its premise. Nobody is pretending this is Shakespeare, nor should they. This is big, bold, unapologetically campy musical comedy that knows its audience came for glamour, laughs, music and a little mayhem. And it delivers! I walked into TPAC‘s Jackson Hall having never seen the original movie, with no real preconceived notions about how Madeline, Helen or Ernest should look, sound or behave. I walked out having witnessed truly outlandishly, yet brilliant performances all-round from the trio, as well as a powerhouse Viola, an outstanding ensemble and a new appreciation for a story that has been entertaining audiences for more than three decades. If this is what immortality looks like, sign me up. Although, after watching Madeline and Helen navigate their eternal feud, I might want to reconsider the company I’ll be keeping. Tp quote Viola, “Don’t say I didn’t warn you”.
Ultimately, Death Becomes Her is a reminder that beauty may be in the eye of the beholder, youth might be fleeting, and revenge is best served with a little theatrical flair. But great performances, fabulous costumes and a cast that knows exactly how to entertain? Those are things that never go out of style. So, whether you’re a longtime fan of the original film or, like me, coming to this particular party for the very first time, don’t let this one die on your list of must-see musicals. After all, some things are worth living for. And this killer cast is definitely one of them!
Death Becomes Her continues its Music City engagement at Tennessee Performing Arts Center’s Andrew Jackson Hall through Sunday, November 8.
Performance schedule is as follows:
● Thursday, November 5 thru Saturday, November 7: Evening performances at 7:30 p.m.
● Saturday, November 7: Matinee at 2 p.m.
● Sunday, November 8: Matinee at 1 p.m.*
● Sunday, November 8: Final Music City performance at 6:30 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.
In case you missed it, Check out my recent Rapid Fire 20Q with the cast below. Then #GoSeeTheShow!