Eternal youth sounds great until you realize the person you despise gets it, too.
Death Becomes Her takes that inconvenience and creates a thoroughly entertaining night of theatre. Launching its North American tour at Cleveland’s Playhouse Square, the musical shows off its impressive vocals, wonderfully crude humor, and a cast that gives every petty grievance its full attention.
The show is an adaptation of Robert Zemeckis’s 1992 film, which starred Meryl Streep, Goldie Hawn, Bruce Willis, and Isabella Rossellini. Its story of bitter rivals pursuing eternal youth became a cult favorite, winning an Oscar for its grotesque visual effects. The musical features a book by Marco Pennette, music and lyrics by Julia Mattison and Noel Carey, and direction and choreography by Christopher Gattelli.
Jackie Burns and Kristen Beth Williams are absolute powerhouses as Madeline Ashton and Helen Sharp. Their vocals are extraordinary, and they’re just as entertaining trading insults, with the ability to make a reaction just as funny as the line that provokes it. Burns gives Madeline’s vanity, confidence and desperation, while Williams makes Helen’s resentment delightfully obsessive. Nasia Thomas is equally impressive as Viola Van Horn, pairing an incredible voice with the seductive assurance of someone who knows you’ll want whatever they’re selling. The amount of talent between these three is absolutely ridiculous, and quite frankly, should be illegal.
Ken Marino is phenominal as surgeon to the stars, Ernest Menville, whose attempts to regain control become increasingly desperate and hilarious. The role gives him a particularly absurd task: figuring out how to repair two women who refuse to stay dead. In “The Plan,” glue, alcohol, and spray paint start to sound like reasonable solutions. Marino makes Ernest’s willingness to pursue that logic absolutely hysterical, giving the character’s panic the same conviction Burns and Williams bring to their grievances. It’s an outstanding performance in what is, remarkably, his stage-musical debut.
Michael Buchanan’s reactions to Madeline make Stefan a comic highlight, while Louis Williams Jr. brings confidence and playful sex appeal to Chagall. Both stand out within an ensemble that gives the smaller moments as much attention as the big numbers. Their reactions add laughs, and their physical comedy is precise. They also understand the seduction this show requires. The promise of eternal beauty has to be tempting, and their confidence and playful engagement with the audience make that promise convincing. And the entire cast is, to borrow from Derek Zoolander, really, really, really ridiculously good-looking.
The show takes absolute pleasure in throwing all that glamour down a flight of stairs. The physical comedy is extraordinary, especially the hilariously conspicuous stunt doubles. Seeing another performer take over for a violent moment becomes its own joke. The substitution is obvious, and that makes it even funnier.
Camp this broad takes discipline. A delayed reaction or the recovery from a fall needs the same care as a punchline. These actors take their characters’ asinine concerns seriously and give one another room to finish the joke. That control makes the excess so much more enjoyable.
The pleasure of Death Becomes Her is watching a company this talented commit so completely to being ridiculous. I’d happily spend another evening with these terrible people.
Death Becomes Her opened Saturday, September 12, and continues through Saturday, October 3, at the KeyBank State Theatre as part of the KeyBank Broadway Series. Tickets are still available at playhousesquare.org or by calling 216-241-6000.
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