“Death Becomes Her”

***** Chicago has become “ground Zero” for pre-Broadway tryouts. If you look at the plays that have had their birth in our city, and the success of these productions in New York, you will understand that the New York producers value the opinions of the Chicago theater audiences, a much more knowledgeable group than New Yorkers. For several weeks, they have been working on the new “hit” ( based on what I experienced tonight, it will rise above the lights of the “Great White Way”) “Death Becomes Her”, based on the Universal movie written by Martin Donavan & David Koepp. The new version has a book by Marco Pennette with music and lyrics by Julia Mattison & Noel Carey.

This is a production that pulls out all the stops. It is a show that could be rated with six stars even though I only offer 5!

The story is about an actress Madeline Ashton ( played to perfection by  Megan Hilty), who is fading and has lost something along the way, who invites a life-long frenemy ( this represents a friend who is also an enemy) , Helen Sharp ( deftly handled by Jennifer Simard) to come backstage after a show. She is accompanied by her fiancé, Ernest Menville, a famed plastic surgeon ( Christopher Sieber is wonderful in bringing this character to life). Ernest finds himself smitten by this super-star, breaks off his engagement with Helen in order to marry Madeline.

Years later, they reconnect with her, only to find that she is glamorous, while Madeline continues to fade, and Ernest becomes somewhat of a funny drunk. Helen’s new book inspires Madeline to go out and get beautified and she goes to see Viola Van Horn ( an amazing and powerful Michelle Williams) who specializes in rejuvenation. All she wants is to be adored and knows that her younger self will do the trick. I prefer not to give away too much, but it seems that the rejuvenation is quite a bit more. It is in fact a potion that will never allow Madeline to die. Madeline also discovers that the reason that Helen looked so different on her return is that she also visited with Van Horn.

They plan to kill Ernest, but realize that if they do, they won’t have him around to fix them up as parts become old and faded, so instead they plot to have Van Horn give him the same treatment they had so they can keep their plastic surgeon around. Things happen to change ( or do they) and at the end, some 30 years later, they run into their plastic surgeon and his wife. He is old, they are not. He is happy! They are friends ( at last).

The musical numbers in this show are more to propel the story line than to have you humming on the way home. From the opening performed by Viola ( Ms Williams) and the “immortals” ( I must tell you the ensemble is magnificent in all the characters they play, their vocal abilities and their dancing. This production would never be as sharp without the following: Marija Abney, Sarita Colon, Kaleigh Cronin, Natalie Charle Ellis, Gabriella Enriquez, Taureen Everett, Michael Graceffa, Neil Haskell, Kolton Krause, Josh Lamon ( who does some clever character work), Sarah Meahl, Diana Vaden, Sir Brock Warren, Bud Weber, Ryan Worsing and Warren Yang. You were all terrific.

Directed and choreographed with style and grace by Christopher Gattelli on a wonderful set (Derek McLane) this show moves quickly ( run time with one 15 minute intermission is 2 1/2 hours, but it seems much quicker). The costumes (Paul Tazwell) are unique and camp as can be ( in particular for the Immortals). In fact , the whole show might be called “camp” and as one unaware of the film ( I may have seen it , but that was 30 years ago) it has developed somewhat of a “cult” feeling. The audience on opening night appeared to hoot and holler quite often,  and prior to the curtain I spoke to some Chicago performers who were seeing it for the 3rd time tonight. That says a great deal!

Thru – Jun 2, 2024 at Cadillac Palace Theatre with performances as follows: