Death Becomes Her Musical Lyrics

Death Becomes Her: The Musical – A Broadway Spectacle of Immortality and Rivalry.

Death Becomes Her: The Musical is a Broadway adaptation of the cult-classic 1992 dark comedy film directed by Robert Zemeckis. With a book by Marco Pennette and an original score by Julia Mattison and Noel Carey, the musical brings the film’s iconic blend of satire, supernatural twists, and campy humor to the stage. The production made its world premiere in May 2024 at Chicago’s Cadillac Palace Theatre before transferring to Broadway’s Lunt-Fontanne Theatre in November 2024.

Creation and Development.

The idea of adapting Death Becomes Her into a musical first surfaced in 2017 when reports emerged that a Broadway production was in development. Originally, Tony-winning actress Kristin Chenoweth was attached to the project, generating early buzz. Over the years, the creative team evolved, with Broadway veterans Marco Pennette (book) and the songwriting duo Julia Mattison and Noel Carey crafting an original score to match the film’s over-the-top aesthetic. By 2023, the production had solidified its direction under Christopher Gattelli, known for his dynamic choreography and inventive stagecraft. Universal Theatrical Group, along with producers Marc Platt, Debra Martin Chase, and even Hollywood legend Steven Spielberg, backed the project, signaling high expectations for its Broadway debut.

Chicago Tryout and Broadway Run.

Before its Broadway opening, Death Becomes Her premiered in Chicago from April 30 to June 2, 2024. The production featured a dazzling cast, led by Smash star Megan Hilty as the vain and glamorous Madeline Ashton, Jennifer Simard as the vengeful Helen Sharp, Christopher Sieber as the hapless Ernest Menville, and Michelle Williams in the newly adapted role of Viola Van Horn (replacing Lisle von Rhuman from the film). The Chicago run allowed the creative team to refine the show before its highly anticipated move to Broadway. In November 2024, Death Becomes Her officially opened at Broadway’s Lunt-Fontanne Theatre. The show’s blend of dark humor, Broadway spectacle, and satirical take on vanity and immortality made it an instant conversation starter among theatergoers.

The Plot: A Campy Tale of Eternal Youth Gone Wrong.

The story follows two longtime frenemies—Madeline Ashton, a fading Hollywood diva, and Helen Sharp, a scorned writer—who have been at odds for years. When Helen reemerges from obscurity, more glamorous than ever, Madeline grows desperate to maintain her own youth and relevance. She seeks out the enigmatic Viola Van Horn, who offers her a magical potion that grants eternal life and ageless beauty. However, immortality comes with a price. When Helen also takes the potion, the two women find themselves locked in an eternal feud, unable to die no matter how much damage they inflict on each other. As their bodies deteriorate despite their youthful appearances, and Ernest finds himself caught in their chaos, Death Becomes Her explores the absurdity of vanity, the fear of aging, and the darkly comedic consequences of living forever.

The Music: A Blend of Broadway Glitz and Camp.

Mattison and Carey’s score is a witty mix of classic Broadway-style showstoppers and sharp comedic numbers. Songs like “For the Gaze” capture Madeline’s obsession with staying young and relevant, while “Siempre Viva” gives Viola’s potion an eerie, seductive allure. The physical comedy of “Hit Me” turns a violent showdown into a musical spectacle, keeping audiences entertained from start to finish.

Critical and Audience Reception.

Both the Chicago and Broadway productions received largely positive reviews, with particular praise for the cast’s comedic performances. Megan Hilty and Jennifer Simard were lauded for their over-the-top yet perfectly balanced portrayals of Madeline and Helen. Critics also highlighted the musical’s lavish production design, which included dazzling illusions and jaw-dropping visual effects to bring the story’s supernatural elements to life. While some reviews noted that Act Two leaned heavily on spectacle over storytelling, the overall consensus was that Death Becomes Her successfully translated the cult film into a high-energy Broadway hit. Fans of the original movie embraced the musical’s self-aware humor and theatrical reinvention, making it a must-see for lovers of camp, comedy, and Broadway spectacle.

Legacy and Cultural Impact.

Since its debut, Death Becomes Her: The Musical has found a devoted audience, with social media trends—especially on TikTok—propelling its songs into viral moments

Innovative Stage Design and Special Effects.

One of the standout elements of Death Becomes Her: The Musical is its visually stunning stage design. Scenic designer Derek McLane crafted a dynamic set that seamlessly transitions between lavish Hollywood mansions, eerie gothic lairs, and the vibrant streets of Beverly Hills. The use of rotating platforms and projected backdrops enhances the storytelling, making the supernatural elements feel immersive and cinematic. A key challenge in bringing the story to the stage was portraying the physical deterioration of Madeline and Helen after they take the potion. Broadway illusionist Rob Lake created jaw-dropping effects that allow the characters to appear "broken" in real-time. From Madeline’s twisted neck to Helen’s gaping stomach wound, the production uses a mix of quick costume changes, prosthetics, and projection mapping to bring these grotesque yet hilarious injuries to life. Lighting designer Justin Townsend and sound designer Peter Hylenski further enhance the eerie atmosphere, particularly in scenes featuring Viola Van Horn’s lair. The glowing, ethereal quality of her domain adds a supernatural touch, reinforcing the otherworldly danger of the immortality potion.

Changes from the Original Film.

While Death Becomes Her: The Musical remains faithful to the 1992 film’s sharp satire and dark humor, several key changes were made for the stage adaptation: The Character of Lisle von Rhuman Is Now Viola Van Horn. Originally portrayed by Isabella Rossellini, the film’s enigmatic potion-giver has been reimagined as Viola Van Horn, played by Michelle Williams. This new interpretation adds more depth and mystery to the character, with subtle hints about her true origins woven into the musical’s storyline. Expanded Role for Ernest Menville. In the film, Ernest is a bumbling, passive figure caught between Madeline and Helen’s chaos. The musical gives him more agency, turning him into a pivotal character with his own emotional arc. His songs, particularly “Till Death” and its reprise, showcase his internal conflict about whether to embrace immortality or escape the madness. New Musical Numbers and Emotional Moments. The Broadway adaptation allows for deeper exploration of the characters’ emotions through song. While the film leans into pure dark comedy, the musical provides moments of vulnerability—especially in numbers like “That Was Then, This Is Now”, where Helen reflects on her past pain, and “Falling Apart”, where Madeline realizes that eternal life may not be as glamorous as she had hoped. A More Theatrical and Grand Finale. The musical’s ending amplifies the chaos of the film’s climax. Without relying on CGI, the stage version creatively depicts Madeline and Helen’s bodies further deteriorating in an explosive, high-energy sequence leading into “This Is Not the End”, a song that cements their fate in Broadway spectacle.

Fan Reception and Cult Following.

Much like the original film, Death Becomes Her: The Musical has already developed a strong cult following. Fans of campy, over-the-top Broadway productions—such as Beetlejuice, Little Shop of Horrors, and Legally Blonde—have embraced the show’s mix of dark humor, satire, and theatrical spectacle. On social media, particularly TikTok and Instagram, fans have shared clips of Megan Hilty’s powerhouse vocals and Jennifer Simard’s comedic timing, turning moments like “Tell Me, Ernest” and “Hit Me” into viral trends. The show’s playful, self-aware nature has made it a meme-worthy musical that thrives on audience participation and inside jokes.