DEATH BECOMES HER Reviews — Page 3

I saw the show last night - LOVED IT.

The sets used every square inch of the Lunt-Fontanne’s massive proscenium, the practical effects were hysterical, and the story is very fun. The music and lyrics easily and effectively drive the story forward while never feeling cumbersome, although no songs are particularly memorable either.

The lead roles are well-written for this show to also have a good life after Broadway, too: a featured diva role for publicity (who doesn't necessarily need to act), two competing strong female leads, and a male lead that can be played by a range of different actors.

At the heart of the show last night were the performers, though - WOW!! Williams delivers powerhouse vocals from the very start, Sieber shows off his impressive comedy, and the ladies… we already knew Hilty was a star, but…

SIMARD!! What. A. FORCE! Company was good exposure to her, but this was her vehicle. Her entire performance was effortless - comedic from beginning to end and she was “always on”. Her voice, while at first seemingly unconventional, quickly unfolds into a 21st century Merman-esque powerhouse - brassy, brash, and unapologetic. I couldn’t understand a single word of the 11 o’clock number between her and Hilty, but I don’t think anyone was listening for words - Hilty and Simard delivered a performance that left the audience at the edge of their seats.

I think anyone who believes Scherzinger is the obvious choice for the Tony this year needs to consider Simard as a serious competitor.


Is the show a slam dunk? No. Overall, I’d give it an 85-90%. Incredible performances, sets, and effects save this show from an otherwise forgettable score that’s challenged to give every character a number, even though the book doesn’t fully introduce us to them.

I loved everything about the show. I can't say a bad thing about it. This could've went wrong in every way, but it didn't. Extremely well done.

I know it's early, but wondering if anyone has any dream replacement casting ideas? I'd love to see Sherie Rene Scott as either, really.

Viola also seems setup for great stunt casting. A friend suggested Keke Palmer and I think she would be so much fun.

Not sure how realistic either of these are, but it's fun to dream :)

At the risk of sounding ageist, casting a “grand dame” of the stage would kind of defeat the purpose of a character selling youth and beauty. The women who have played the role in the film and on stage have been in the 40s range. I’m not sure how much more “seasoned” one can go for the plot to land.

TheQuibbler said: "At the risk of sounding ageist, casting a “grand dame” of the stage would kind of defeatthe purpose of a character selling youth and beauty. The women who have played the role in the film and on stage have been in the 40s range.I’m not sure how much more “seasoned” one can go for the plot to land."

If you're doing a film of it, sure. But this is theatre and it's a show that absolutely does not take itself seriously. If they got a Vanessa Williams in the role, they'd do it immediately.

I have tickets to see this tonight - won the lottery. I just received an email saying Chris Sieber will be out and if I want to get a refund, to contact Broadway Direct by 7pm... Love him but, will still be going!

Bud Weber will be on in his place; appears he was on last night as well. Just FYI.

Saw this last week: this show leans unapologetically into its sharp humor and campy energy, and honestly, I had a blast.

What's stood out to me is how the book embraces its "nastiness." Zinger after biting zinger gets lobbed without feeling overly repetitive (even though, yes, most of the insults are about looks and age). I found it refreshing that the show wasn’t afraid to fully lean into how cruel these characters could be. It reminded me of how Mean Girls on Broadway had some of its sharper edges softened, but this? The claws were out.

What really works about this production is how confidently it knows its identity. It’s not trying to be anything more than an entertaining spectacle—and it succeeds, solidly. The one-liners are razor-sharp, the special effects are impressive, and the camp factor is dialed up to 11. The use of body doubles was so hilariously blatant; down to the production doing absolutely nothing to hide that one of the doubles was a man. I’m here for it. I appreciated that only the end ending ever so slightly veers towards sentimentality, and that's only very briefly and clearly exclusively as a means to tie up loose ends.

Christopher Sieber deserves some kudos for taking what is still a pretty bland role and still finding a way to imbue it with neurosis and humor. In lesser hands, the character could have been completely forgettable. I’ll admit, when his solo started, I thought I’d mentally check out, but by the end, I was chuckling and admiring his choices. As for Michelle Williams, I think she worked just fine. Could someone else have made a bigger meal out of the role? Sure. But her cold diva energy fit well enough, and the audience ate her up. Her low-energy stage cross during the big chase scene while everyone else is running wild? Go on girl, give us nothing. Iconic.

The music is fun, but beyond the opening song, none of the tunes really stuck with me, and the one that did only did because it was repeated several times.And as for that big power duet at the end, I couldn’t understand a word that Simard and Hilty were singing, but honestly, it didn’t matter. They were both fantastic overall, but I’m especially thrilled to see Jennifer Simard shine in a role like this. Her humor is so creative and fresh and a privilege to wash.

In the end, I’m happy this show is on Broadway. Is it high art? Nope. Not every show needs to be the deepest, most profound piece of theatre. Sometimes, it’s enough to be fun, well-executed, and worth the ticket price. Unlike other ‘90s movie adaptations that felt like they were just there, Death Becomes Her adds value. It’s made to entertain, and it succeeds beautifully.

BenjaminNicholas2 said: "After a second viewing, my only qualm is with Michelle Williams.

She sings loudly. She looks great in the costuming.

Her acting hasn't gotten a smidge better and her movement is so placed, it looks less like she's sexy and slinky and more like she's trying not to fall down or trip. It's strange looking.

From friends in the production, she was the 12th choice for the role."



Would love to know who else is on that list....

Observation said: "BenjaminNicholas2 said: "After a second viewing, my only qualm is with Michelle Williams.

She sings loudly. She looks great in the costuming.

Her acting hasn't gotten a smidge better and her movement is so placed, it looks less like she's sexy and slinky and more like she's trying not to fall down or trip. It's strange looking.

From friends in the production, she was the 12th choice for the role."



Would love to know who else is on that list....

"

Someone said Nicole Scherzinger did a workshop. If Sunset hadn't happened I assume we'd have gotten her.

Am I the only one not that impressed with Michelle Williams' vocals? The night I went she was terribly off-key during the act 2 opening. It was pretty bad.

If Eartha Kit was still alive she would eat this role UP

Updated On: 12/21/24 at 11:58 AM

I always thought that role had Sofia Vergara written all over it.

Kaleigh Cronin will be on as Madeline; Natalie Charle Ellis will make her debut as Helen.