The Price of Self-Obsession
Aging actress and full-tilt diva, Madeline Ashton (Megan Hilty) hasn’t appeared on screen in years. Once a glamorous, in-demand star, and a two-time Oscar nominee—as she keeps reminding everyone—she’s now reduced to appearing in an infomercial. In it, she extolls the virtues of wrinkle cream as the “before” actress in an on-camera demonstration.
One day Madeline and her physician husband, Ernest Menville (Christopher Sieber), a plastic surgeon to the stars, receive an invitation from her once-best friend Helen Sharp (Jennifer Simard) to a book signing for her new novel.
“Best friend,” here, can be substituted for “punching bag.” Helen, who was engaged to Ernest until Madeline stole him away, was always on the receiving end of her back-handed compliments, snide put-downs, and crushing air of superiority. Other than the time Helen crashed Madeline and Ernest’s wedding and ended up in psych ward, the two women haven’t seen each other for almost a decade.
At the book signing, Ernest and Madeline are amazed to see how Helen, once quiet and mousy, has completely changed. She now looks younger, more beautiful, and far more uninhibited than when they last saw her. Not only does it look as if Helen has found a way to stop the march of time, but has somehow rolled it back.
Envious at Helen’s appearance and desperate to reclaim her former glory when she was no longer treated as a has-been, Madeline learns of Viola Van Horn (Michelle Williams), who has found the secret of eternal youth. Viola is willing to give Madeline exactly what she seeks, but the gift comes with a hefty price tag and a veiled warning.
A Solid Production
“Death Becomes Her” is at its heart a morality tale, as it asks what’s more important: staying forever young or making the most of life while you can, knowing it will someday end?
Marco Pennette’s book isn’t always tightly structured, and songs by Julia Mattison and Noel Carey aren’t completely satisfying. However, several duets with Madeline and Helen are amusing; they sing the next lines of one another’s parts in biting verbal volleys.
What the show does have is an over-the-top plot. Every character treats the situation as completely serious, making the entire effort come off brilliantly. The musical takes swipes at the entertainment industry, its obsession with youth, and how older actresses are swept aside in the search for the next new thing.
Hilty plays the role of a self-absorbed diva to perfection—someone so full of herself that she tries to postpone a meeting with a child from the Make-A-Wish organization. Her one great fear is losing her looks, another reason why she latches on to Ernest, as she needs him to perform numerous plastic surgeries as she attempts to stave off the inevitable.
Simard is excellent as Helen. She desperately wants to climb out of Madeline’s shadow, but for years, lacks the courage to do so. At one point, Helen describes loving Madeline “like a twin. Who stole my nutrients in the womb.” The two characters’ relationship is almost symbiotic. Each wishes they could be rid of the other but neither is willing to let go. Helen’s attitude while locked up in a mental hospital shows just how dangerous she is, as her need for vengeance continues to grow.
Sieber is good as Ernest, the only character to emotionally change during the course of the story. Once a respected doctor, he eventually finds his voice as he faces the same temptation as Madeline and Helen. The number where he sings about the joke his life has become as he downs drink after drink is a comedic masterpiece.
Williams is adequate as Viola. She will stop at nothing to keep her secret hidden from the world, though she generally doesn’t have much to do otherwise.
There isn’t a sympathetic soul in the story, other than Stefan (Josh Lamon), Madeline’s long-suffering personal assistant.
Christopher Gattelli’s direction is sharp, never letting the pace falter or allowing anything to become complete camp. He gets high marks for his choreography, including a wonderful slow motion fall down a flight of stairs.
“Death Becomes Her” is fun from start to finish, all while exploring friendship, obsession, and what true immortality is all about.
