By Fern Siegel (posted 11-24-24)

Extravagance pays: $30 million+ can buy a bucket load of theatrical entertainment. That’s the case with Death Becomes Her, the 1992 movie turned into a big, brassy Broadway musical.

Now at the Lunt-Fontanne Theater, the production is a fast-paced over-the-top good time — and with enough lightning costume changes to dazzle.

The show is led by Megan Hilty, as the ego-driven, fiancé-stealing Madeline, and Jennifer Simard as Helen, her long-suffering friend. The two reunite at Madeline’s show Me! Me! Me! And Madeline, who craves putdowns almost as much as Botox, sees a lifetime of free nips and tucks.

When Helen, angered by losing her lover, seeks revenge, she makes a Faustian bargain — the chance to look sexy and young forever, courtesy of Viola Van Horn (Michelle Williams). Of course, magic potions often come with caveats. But who cares about caveats when you look hot!

Frenemies Madeline and Helen are committed to mutually assured destruction in their quest for eternal life — and the audience laps it up. Together, the duo are pitch-perfect, slinging insults with abandon. “Love her like a twin who stole my nutrients in the womb.” Helen says of Madeline.

It’s at that point the show shifts into a knock-down drag-out catfight. The special effects are spectacular, as are the melodic, sassy songs by Julia Mattison and Noel Carey. Marco Pennette’s book is witty and outrageous. “For the Gaze” opener says it all.

Hilty nails her spotlight-craving character with glee, while Simard can mine a line for every bit of humor, then deliver it with a dry zing. They may be the most engaging couple on Broadway.

And from beginning to end, audiences are treated to Derek McLane’s creative sets, Justin Townsend’s glam, purple lighting and Paul Tazewell’s stunning costumes. They literally sparkle — accompanied by Charles LaPointe’s hair designs that live up to the show’s distinct couture.

The screwball musical mocks vanity, preening actors and youth-obsessed culture — and it clicks thanks to director-choreographer Christopher Gattelli, who doesn’t miss a beat. His dancers are stunning and the musical moves with electric precision. The only off note is Williams, whose delivery is stiff. She needs to relish the sinister aspects of her role, rather than assume posture will carry the day.

The original film, starring Meryl Streep, Goldie Hawn and Bruce Willis, was fun — but the Broadway musical ups the camp. Running through August 2025, it delivers Broadway’s glitziest comedy.