Tony Nom Favorite: 'Death Becomes Her'

Summary

All Of It: Episode Summary – "Tony Nom Favorite: 'Death Becomes Her'"

Release Date: April 15, 2025
Host: Alison Stewart
Guest: Megan Hilty
Podcast: All Of It by WNYC

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Introduction to the Episode

In this episode of All Of It, hosted by Alison Stewart, the spotlight shines on the Broadway adaptation of the cult classic film "Death Becomes Her." The episode delves into the creative transformation of the 1992 surrealist satire into a vibrant musical, exploring themes of beauty, aging, and the lengths one might go to preserve youth.

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Death Becomes Her: From Screen to Stage

"Death Becomes Her" originally starred Meryl Streep, Goldie Hawn, Bruce Willis, and Isabella Rossellini. The Broadway adaptation retains its campy essence, bringing the story to life with an added musical flair. The narrative follows Madeleine Ashford, portrayed by Megan Hilty, a 40-something actress desperate to maintain her youth and beauty. After exhausting options like plastic surgeons and dietitians, Madeleine resorts to a mystical potion promising eternal youth.

Notable Performance: "For the Gays" (Performed by Megan Hilty) [01:55 - 03:19]

Megan Hilty:
Why is a girl like me sitting here in this chair combing her hair
and painting her face in the chase to stay young and beautiful?...

This song encapsulates Madeleine's internal struggle and societal pressures to remain perpetually youthful.

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In-Depth Conversation with Megan Hilty

Exploring Contemporary Themes Alison Stewart opens the discussion by addressing the recurring cultural conversations surrounding women's bodies and aging. Megan Hilty responds by contextualizing the show's relevance, comparing it to classics like "Sunset Boulevard" and "Gypsy," which also grapple with themes of fading stardom and the fear of obsolescence.

Megan Hilty [04:03 - 05:21]:

"I think it is, unfortunately, it's very, very topical. But what I love is that it provides... all of these amazing women taking the stage... tackling that very topical issue of fearing losing relevancy after 40."

Adapting a Beloved Film Hilty shares her passion for the original film, stating it as her favorite candidate for a Broadway musical due to its over-the-top, campy nature which naturally lends itself to musical expression.

Megan Hilty [05:23 - 05:47]:

"The biggest reason is that it is so over the top and campy that of course, we break out into song."

Character Development: Madeline Ashford Hilty discusses how Madeleine starts in her career's prime but faces turmoil when her frenemy, Helen, re-enters her life. She elaborates on her character’s dual vocal tones—one reflecting confidence and glamour, and the other showing vulnerability and defeat.

Megan Hilty [07:15 - 08:16]:

"I wanted her to have two very distinctive sounds... when she's at her low point and not feeling herself."

Crafting the Perfect Voice Drawing inspiration from iconic characters like Valerie Cherish from "The Comeback," Lucille Bluth from "Arrested Development," and Miss Piggy, Hilty crafts a unique voice for Madeleine that balances humor and depth.

Megan Hilty [06:38 - 07:10]:

"I draw on three pre-existing characters... Madeline draws on those three fabulous women with a little bit of myself sprinkled in there."

Dynamic Relationship with Co-star Jennifer Simard The relationship between Madeleine and Helen is central to the show's tension. Hilty describes their interplay as a blend of competition and underlying admiration, fostering a comedic yet genuine dynamic.

Megan Hilty [10:06 - 10:58]:

"These two women and their constant need to one up each other... there's something about the other person that they love and admire so much..."

Live Performance Challenges and Special Effects Adapting the film's special effects for the stage posed unique challenges. Hilty praises the creative team's ability to translate iconic moments like Madeleine's neck twist and the dramatic stair fall into live performances without compromising safety or camp aesthetics.

Megan Hilty [16:59 - 18:31]:

"We're big and we are broad, and we're doing silly in the smartest way... the fall down the stairs is iconic."

The Art of Comedy in Theater Addressing the complexity of comedic performance, Hilty emphasizes that comedy requires as much precision and effort as drama, often appearing effortless to the audience.

Megan Hilty [21:55 - 23:23]:

"Comedy is way harder than the dramatic stuff... it has to stay fresh in eight shows a week."

Costuming as a Storytelling Tool The elaborate costumes, designed by Paul Tazewell, play a crucial role in depicting Madeleine’s transformation. Hilty explains how her character's attire shifts from glamorous sequins to more subdued hues, reflecting her internal state.

Megan Hilty [23:33 - 24:36]:

"It's so much of Madeline... it tells you exactly where she is in her life... Paul Tazewell... showing these characters through what they're wearing."

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Engaging the Audience: Behind the Scenes and Interactive Moments

Interplay with Audience During Performances Hilty highlights the importance of audience interaction and the unpredictability of live theater, where each performance can differ, keeping the experience fresh for both actors and viewers.

Megan Hilty [09:08 - 09:41]:

"People are coming back and over and over again and dressing up as Madeline and Helen... there's another joke... that's the magic of live theater."

Commitment to Character and Role Hilty shares anecdotes about the dedication required to embody Madeleine, including humorous improvisations and character-driven jokes that enhance the show's charm.

Megan Hilty [24:40 - 25:50]:

"I add that every night... sometimes it's Skittles Taste the Rainbow or Charmin Enjoy the Go... It's anything I want to do."

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Dead Outlaw: A Brief Spotlight

Towards the episode's conclusion, Alison Stewart introduces another Broadway addition, "Dead Outlaw," a musical telling the true story of Elmer McCurdy. The show features a live rock band and unique storytelling techniques, now running at the Longegar Theater until July.

Preview of "Dead Outlaw" Song: "Dead" [27:20 - 30:18]

WNYC Studios:
You're born with nothing, your cheeks are apple dumplings...

Jennifer Simard:
Them as well.

This segment includes a performance snippet, highlighting the musical's gritty narrative and dynamic presentation.

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Conclusion

Alison Stewart wraps up the episode by celebrating the vibrant cultural tapestry of Broadway, spotlighting "Death Becomes Her" and the emerging success of "Dead Outlaw." Listeners are encouraged to experience these productions firsthand, embracing the diverse and dynamic world of New York City's theatrical offerings.

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Notable Quotes with Timestamps:

• Megan Hilty [04:03]:
  "If you look at what's happening on Broadway this season, it's all women 40 and above... tackling that very topical issue of fearing losing relevancy after 40."

• Megan Hilty [05:23]:
  "It's so over the top and campy that of course, we break out into song."

• Megan Hilty [10:57]:
  "There's something about the other character that they wish that they had, which is why they feel like they need to dominate the other one constantly."

• Megan Hilty [21:55]:
  "Comedy is way harder than the dramatic stuff... it has to stay fresh in eight shows a week."

• Megan Hilty [23:57]:
  "It's so much of Madeline... it tells you exactly where she is in her life."

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This comprehensive summary captures the essence of the episode, offering insights into the Broadway musical "Death Becomes Her," Megan Hilty's portrayal of Madeline Ashton, and the broader cultural conversations surrounding the production. Whether you're a theater enthusiast or simply curious about the arts, this episode provides a rich exploration of contemporary Broadway's creative processes and thematic depth.

Transcript

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[WNYC Studios]

Listener Supported WNYC Studios.

[Alison Stewart]

This is all of it on wnyc. I'm Alison Stewart. Earlier today we talked in the green space with some of the cast and the creative crew behind the Tony winning musical Hell's Kitchen. If you missed it, we'll be putting it online and sending it down our podcast feed shortly. So be on the lookout in your podcast app or head to wnyc.org in about an hour. Since we're already in a Broadway kind of mood here today, we want to keep that rolling. Let's hear about one of this year's favorites, Death Becomes Her. The play is based on a 1992 surrealist satire film by the same name starring Meryl Streep, Goldie Hawn, Bruce Willis and Isabella Rossellini. It is a camp favorite in the Broadway version of Death Becomes her, actress Madeleine Ashford, a 40 something, makes a deal with a frenemy. She's played by our next guest, Megan Hilty. After availing herself of a roster of plastic surgeons and dietitians, Madeline turns to more mystical means to preserve her looks via a potion that costs her a ton of money, but in return she will be graced with the fountain of youth. Here's Madeline singing a bit about her desire to look young forever in a song called for the Gays. That's G A Z E Lets listen.

[Megan Hilty]

Why is a girl like me sitting here in this chair combing her hair and painting her face in the chase to stay young and beautiful? Is it the fact that I'm attracted to each kernel of external validation in a world that keeps me insecure to sell me needless crap or is it something new? Would you believe it to be true that I do it all for you.

[Jennifer Simard]

For that glimmer in your eye for.

[Megan Hilty]

Your G I'd trade my fortune for the chance to be enveloped in that special way you glance at me I feel like I can have it all.

[Jennifer Simard]

The moment that I fall into that gaze.

[Megan Hilty]

The look of recognition in your eyes is all it takes to have me hooked and hypnotized it's the feeling of pure ecstasy to be seen the way that I see me, yes, everything I do is for the gayest.

[Alison Stewart]

Death Becomes her has gotten rave reviews. Critics called it laugh filled and music, comedy magic. It's running now through November 2nd at the Luntfontein Theater. I talked with Megan Hilty, who stars in the show as Madeline Ashford. Let's dive into that conversation. All right, I'm start with sort of the essay question and then we'll get into the show.

[Megan Hilty]

Okay.

[Alison Stewart]

This year there have been all of this media and content about women's bodies and about aging. We have the substance. We have your show. Your show makes reference to Sunset Boulevard about an aging actress. Why do you think this conversation is emerging again and again in the culture?

[Megan Hilty]

Well, and I would even add that maybe Gypsy's even part of that too, because, I mean, Mama Rose is dealing with the fact that she'll never be a star. So she's trying to. Cause she's kind of aged out of that. But I think it is, unfortunately, it's very, very topical. But what I love is that it provides. I mean, if you look at what's happening on Broadway this season, it's all women 40 and above. You know, just like all of these amazing women taking the stage. And yeah, a lot of these shows are tackling that very topical issue of. Of fearing losing relevancy after 40.

[Alison Stewart]

Did you watch the original movie?

[Megan Hilty]

Oh, I am a huge fan of the movie. It's one of my all time favorite films. And I was asked several years ago, I wanna say it was about 10 years ago, if there was one movie that I could change into a Broadway musical. I immediately said, death becomes her and rattled off my laundry list of reasons why I thought it would be a really great candidate for a musical. And here we are talking about.

[Alison Stewart]

What were one or two of your reasons?

[Megan Hilty]

Well, the biggest reason is that it is so over the top and campy that of course, we break out into song. It's one of those. The few stories where you don't even question that we break out into these huge musical numbers because it really. It drives the story line even further.

[Alison Stewart]

It's set in current times, not in the 90s. Ish, ish, ish.

[Megan Hilty]

It's a nebulous time. Even though we.

[Alison Stewart]

Because there are many cell phones.

[Megan Hilty]

Yeah. And we do make very current references to like Venmo and things like that. But overall, it wants to live in kind of a timeless zone.

[Alison Stewart]

When we first meet Madeline, where is she in her career? In her life?

[Megan Hilty]

Oh, she's in the prime of her career and she thinks so anyway, if you ask her, she's in her. And if you ask Madeline what this show is about, Everything's going great until her old friend Helen shows up and ruins everything.

[Alison Stewart]

She has this wild, campy voice. First of all, how did you decide on that voice?

[Megan Hilty]

I don't know that I ever decided on her voice. I will say that I draw on three pre existing characters. Make this Madeline. That is Valerie Cherish from the Comeback.

[Alison Stewart]

So good.

[Megan Hilty]

Lucille Bluth from the Matriarch of Arrested Development, and Miss Piggy. I thought my Madeline draws on those three fabulous women with a little bit of myself sprinkled in there.

[Alison Stewart]

How would Madeline Ashton say, it's nice to meet you. It's nice to be on wnyc.

[Megan Hilty]

Oh, you're so lucky to meet me today. And how wonderful that you got me on my day off to be with you. That's what Madeline would say. Yeah. I don't know. I think what I really want, the choice that I did make is that I wanted her to have two very distinctive sounds from when she's confident and comfortable and feeling fabulous and when she's at her low point and not feeling herself, you know, So I did want there to be two distinct sounds to those parts of her life.

[Alison Stewart]

So in the show, when she's in the blue outfit and she's got sort of the mom hair, that's the low point.

[Megan Hilty]

And it sits a little lower. It's a little sharper. You know, there isn't a grandness to her voice. She isn't, you know, like, floating on top of everything. It's more defeated and, you know, a little trying to. A little more biting. Yeah.

[Alison Stewart]

The show has so many one liners and zingers in the show. Do you have a couple of favorites?

[Megan Hilty]

Oh, there's one. And it's so. It's so unfortunate because all of my favorites are things I would never say in my real life. There's one right in the beginning where I say to Helen, I have an idea. And she says, I'm all ears. And I say, and I begged you to have them pinned back years ago. You know, I just think those are so. It's so rude. It's so delightfully rude that, like. And I have so many of them. Marco Pinette wrote this incredible script. I cannot believe I get to play this character and say these, like, I don't even know how many jokes. If you were to sit down and, like, tally all the laugh lines, you just couldn't. There's too many.

[Alison Stewart]

Well, we were talking before we started saying, like, you might need to go see this two or three times if you can figure out how to but, you know, it's sold out.

[Megan Hilty]

People are. People are coming back and over and over again and dressing up as Madeline and Helen. Oh, it's fabulous. Yeah, no, it's great. But it is one of those shows, as you said. Like, you can come back because I guarantee while you were laughing at something, you missed another joke. Totally. Like, there will be another. And that's the magic of live theater too. Like, you're not gonna see the same performance twice.

[Alison Stewart]

My guest is Megan Hilty. She's starring as Madeline Ashton, the fading star who makes a deal to retain her beauty at a cost. And the new Broadway adaptation of Death becomes her. Your co star is Jennifer Simard. Yes. She plays Helen, who's sort of uptight and sort of normal. Sort of normal in the first half of the film, undergoes a major transformation. How would you Describe the Act 1 relationship between Madeline and Helen?

[Megan Hilty]

Oh, goodness. I mean, it drives the whole show. These two women and their constant need to one up each other for some reason. And I do think, I believe underneath it, it's because there's something about the other person that they love and admire so much that they want to impress each other. And that's where the one upping there has to be that love underneath as funn and as broad and there has to be some element of truth at the bottom of it. And so I truly believe that there's something about the other character that they wish that they had, which is why they feel like they need to dominate the other one constantly. Does that make sense?

[Alison Stewart]

Sure.

[Megan Hilty]

Yeah. I hope it does. To me, I'm holding onto something. And how wonderful that I get to play opposite the brilliant Jennifer Simard. I mean, her performance in the show is iconic, and I'm just so thrilled that I get to play this comedic volleyball with her every single day. It's thrilling.

[Alison Stewart]

Well, let's hear a little bit of a duet of the two of you that you share. This is alive forever.

[Jennifer Simard]

Matt, I forgive you. Can we forget it? Cause I don't have the core strength to hold on to grudges anymore. You make me crazy thanks for the pray you're narcissistic but now my cold heart I've got something to say I know we're toxic it's very toxic but as the clocks tick I realize as time goes by I'd rather be miserable with you and I won't go away I'll pinch your ass I'll help you stay alive forever alive even after the world every now is gone when you need your face to Redrawn? You don't have to fear I'll be here now until forever? It would be healthier to leave you and no longer be friends? Cause our hatred escalated into murder? But I don't have the heart to grieve you? So can we stop again?

[WNYC Studios]

Look at you.

[Megan Hilty]

Look at you.

[Jennifer Simard]

No, look at you. Okay, let's look at me. We can face eternity? Just you and me both D to.

[Alison Stewart]

Be alone so interesting. These two big voices tell me a little bit about, actually, the rehearsal process, how you would decide who would take the lead, who wouldn't take the lead, how you would mesh your voice.

[Megan Hilty]

Right? And it's something that I really. I love tracking throughout the course of a show because, like. Like, when I did Wicked, it really made sense for me that she started as a high soprano and, like, and got more grounded as the show went along. And what I. What I love about this is that sometimes you can't tell who's on top and who's bottom. And there it doesn't. It's not like one's on top and one's on bottom the whole time. We weave in and out, and I feel like that's a really excellent symbol of where they are in their relationship. You know, they're like, sometimes one is on top and one's on the bottom, and then we switch it up. It's a pretty even balance throughout.

[Alison Stewart]

We'll be back in a minute with more of my conversation about the Broadway show Death Becomes her with one of its stars, Megan Hilty. She plays the show's Madeline Ashford. Stick around. This is all of it. You are listening to all of it on wnyc. I'm Alison Stewart. We've been talking with actor Megan Hilty about the Broadway musical Death Becomes her, which is Adapted from a 1992 film of the same name. Megan stars as Madeline Ashton, the fading star who makes a deal to retain her beauty at a cost. And in the movie version, Madelyn was played by Meryl Streep, who had some words of violent encouragement for Megan before the musical's opening night. Let's pick up the conversation there. Okay. I saw that Meryl Streep sent you flowers. I know. And it said, break a leg or I'll break it for you.

[Megan Hilty]

Yes. It's so perfect. It's so perfect. I almost hit the floor when I got them in my dressing room. She didn't just send me flowers. She sent me dried flowers. So just like Madeline Ashton, just like the show, they're dead, but they're alive forever and I will keep them forever, along with this lovely little note from her.

[Alison Stewart]

Well, we were joking before that everybody gets a little something different out of the show. And the people behind me were like, oh, I didn't know she was in the Devil Wears Prada. And it happened to Jordan. Went to see the show. And the same thing your bio in the Playbill is. It's Meryl Streep's.

[Megan Hilty]

By the way, it's Meryl Streep's Wikipedia page. If you go to her Wikipedia page, it's all just pulled from that page. But that's why I put at the end, because I knew some people wouldn't get it. I put at the end there's. Well, it's not a fake Instagram handle because I created the account. And it's just pictures of Meryl Streep with her iconic, like, lines from all of her many, many iconic films. There's literally no way I could have done any of those things. And people keep calling Playbill and saying, oh, you messed up. You put Meryl Streep's bio in Megan's place. And they're like, no, that's the joke. And they're like, oh, oh, that's funny.

[Alison Stewart]

I like that you committed to the joke.

[Megan Hilty]

It was a big swing. It was a big swing. And I hope. Oh, goodness. I hope she knows that this is just done with respect. And she's a big fan.

[Alison Stewart]

In a silly way, she's a big fan of wnyc, so she'll get it. She definitely gets it. A big thing about the film is obviously there were all of the incredible special effects, and you have to re engage them on stage. And I don't want to give too much away, but what was the most difficult trick or effect that you wanted to nail that you really knew you had to get right?

[Megan Hilty]

Oh, man. Well, I know that everybody's coming to see how we twist Madeline's neck and how we do the fall down the stairs and how we get the hole in the lady in Helen. And I think what they've done is pretty remarkable. What we learned in our Chicago run, our out of town run, is that audiences really loved it when we really leaned into the campy versions. Anything that was too slick did not go over very well. That's true. That's just not the tone of our show. We are big and we are broad, and we're doing silly in the smartest way, you know? And I also don't want to give anything away, but the fall down the stairs is iconic. Like how Christopher Gattelli imagined that. It's just perfect. What I will say is that, like, we. We did try it with a stunt person where you watch someone actually fall down the stairs. And I have to tell you, when you're in the room, like, live in person, it's one thing to see it, you know, on film. And you can. You can figure out which. Which view you want people to absorb that, like, how. How you. How you want people to see that. But when you are in person watching someone fall down the stairs, it is horrific. And pretty quickly they're like, that is not our show. That's not it. So I'm really, really thrilled with how. What they landed on. Pun intended.

[Alison Stewart]

I was thinking about you before the show starts, and I thought to myself, I bet she's having such a good time, and she knows that the people in the audience are about to laugh their butts off.

[Megan Hilty]

Oh, yeah. And what a privilege, right, to be a part of something that. To be a part of a show where our only requirement of the audience is to check your door or check your day and your troubles at the door and just laugh for two and a half hours. We've created a safe space for people to laugh every day. And I feel like it is such a privilege to be a part of that in any capacity.

[Alison Stewart]

What were you worried about when you were doing your out of town shows? You mentioned falling down the stairs. That was like, mm, not gonna do that. What other things were sort of challenging that you had to work around?

[Megan Hilty]

You know, ultimately, because it's really dangerous what we're doing. It's really. If anybody saw what's happening backstage, like, that's. We're literally making magic. Like, it's. And I was a little concerned about everyone's safety, myself included. But we are in just the best hands. Our stage management, my good Rachel Sterner, our incredible stage manager. I'm not really joking when I say it. I started out joking, but now it's true. I'm not doing another show without her. She has, and she put up Harry Potter. I feel like we are in such good hands with her and her stage management team that I went into it concerned. But quickly that went away because of how amazing she and her.

[Alison Stewart]

What do the stage managers do so people understand?

[Megan Hilty]

Oh, gosh. Our stage manager controls everything. They're the ones that everything is kind of filtered through, and they literally manage it from the costumes. And Rachel Sterner is calling the show every night, so she's calling all of the cues and all of the. She's literally keeping us safe every performance. And there are some performances where we do have to stop. And I trust. And there are some times where something goes wrong but we're not cued to stop the show. And I told her this the other day. I was like, I know that I'm safe to keep going because I trust that she wouldn't let me stay out there if it wasn't safe.

[Alison Stewart]

That's interesting.

[Megan Hilty]

That's the thing is that we have a pretty strong cue to exit the stage because there are so many huge elements that could go wrong. Yeah. But I don't feel unsafe at all because she's in control.

[Alison Stewart]

I want to read you something that Ryan Reynolds posted online. And it was response. This is interesting because it's a response that he shouldn't have been paired with Andrew Garfield on the Actors on Actors series. And he wrote dramatic work is difficult. And we're also meant to see it's difficult. Which is one of the reasons it feels visceral and effective. Comedy is also very difficult. But it has an added dimension in that it's meant to look and feel effortless. You intentionally hide the stitching and unstitching. What do you think of that statement?

[Megan Hilty]

I couldn't agree more. I would actually double down on the fact that comedy is way harder than the dramatic stuff. I truly do. Because comedy, there's an element of science and math and magic and it's. And. And it's the same thing with direction. If it's directed really well, you're not even thinking about the director. Same thing with comedy. If it works really well, you should think that it's effortless when in actuality there is so much work, meticulous work that goes into crafting each moment. And it has to stay fresh in eight shows a week. So you can't get stale. You have to do the same thing. Thing. It's the same script every night. But you can't turn into a robot. You cannot do it the same every night because. And that's where the science comes in. You know, like there's different elements that you have to weigh in the moment. And you're receiving lines differently every night. So your response is different every night. But you need to land the laugh. And it has to look like just as easy as breathing. So it is. It is incredibly difficult to do comedy. But you should never, ever feel that.

[Alison Stewart]

What happens with the laugh doesn't land.

[Megan Hilty]

We gotta keep going. We gotta keep going. And luckily we have another show where we can figure it out. You know, that's interesting.

[Alison Stewart]

Your costumes are wild in this show. How does a costume help an actor?

[Megan Hilty]

It's everything. Not. Not everything, but like. But it's so much. I mean, so much of Madeline. You know, it tells you exactly where she is in her life. Like, I go from my. From wearing every sequin and feather known that you can find on the planet.

[Alison Stewart]

A leopard plant out thing.

[Megan Hilty]

Oh, it's so good. Yeah. To a blue suit, you know, like, it says everything. Which blue suits are fabulous.

[Alison Stewart]

No, I get what you're saying.

[Megan Hilty]

Sequins and feathers. It is not. You know, it tells so much of where that character is in their life. And then she gets back to her sequins and rhinestones. You know, like Paul Tazewell, who did the Wicked movie, also did our costumes.

[Alison Stewart]

Oh, I didn't know that was.

[Megan Hilty]

And so he is well versed in how to do grand and fabulous and telling these beautiful stories and showing these characters through what they're wearing.

[Alison Stewart]

There's a hilarious joke about Wicked in there in your show.

[Megan Hilty]

Oh, it's not in the script. I add that every night.

[Alison Stewart]

You just add that?

[Megan Hilty]

Yeah. So the wedding is sponsored by whatever company I want to make up every night, and you just happen to be there. I've been doing the Wicked movie just while it is open. It has just opened. Yeah. No, so it's every night. So sometimes it's Skittles Taste the Rainbow or Charmin Enjoy the Go. You know, it's anything I want to do. And what. Can you imagine a wedding being sponsored by Charmin Toilet paper. But, yeah, and that's one of. That was another one of Chris Catelli's, like, yummy little moments. He was like, I don't want the stage management to know what you're gonna say. I don't want anybody on stage to know what you're gonna say. You come up with something new every night. But I have been doing Wicked for the past. I retired it on Sunday. I'm gonna move on. Yeah. I might go back just because it gets such a great. And I mean, we're both Universal. It's our parent company, so.

[Alison Stewart]

And of course, you played Glinda and I played Glinda.

[Megan Hilty]

There's a whole. There's a whole lot of. There's a whole lot of layers here.

[Alison Stewart]

That was my conversation with Megan Hilty, who stars as Madeline Ashford in the show Death Becomes Her. The show is running on Broadway through November 2nd. We're almost out of time for today, but before we go, we wanted to share news of a new addition to Broadway from Off Broadway. Dead Outlaw started at the Mineta Lane Theater and is now in previews on Broadway. Opening night is April 27th. It tells the real story of Elmer McCurdy, a turn of the century outlaw who was killed in a shootout with police during a train robbery. After his death, his body was preserved in arsenic and then became a feature of the sideshow circuit, touring carnivals across the country for decades. The musical tells the story through a live rock band playing and singing right there on stage. When the show first opened last year off Broadway, the Dead Outlaw cast and creative team joined us in WNYC Studio 5 to play live. This is the 2024 cast of dead Outlaw with the song Dead.

[WNYC Studios]

You're born with nothing, your cheeks are apple dumplings the ever water there's something them all you're wanting the milk, the sugar outside you there's a naming you came with nothing you leave here just the same. But between the dark and the dark is the voice you're always hearing. Some crazy auctioneer is yelling at you and you walk, you run, you flee the dark and see the sun. Every brick you ever lay will crumble away. Your mama's dead, your dad is dead, your brother dead, so are you. Abe Lincoln's dead, Frank James is dead, your mom is dead and so are you and so are you. Your adolescence was just an open presence you drank the liquor, I made it all go quicker those dead ancestors you had to make an exit you went and found the bottle and now your face reflects it and so you fail with failures and you confront your rivals who stand there on with bibles pointing at you. Then you plot, you scheme, you had a chance, had a dream, couldn't get a witness. Now you stand here today your mom is dead, John got Daddy's dead, Dillinger's dead so I u Balzac is dead, Tupac is dead and Frank is dead and so are you and so are you. I've been a pilgrim on the road from coast to coast. I look around and all I see was hungry ghosts getting and spending on the gravel road through hell. I know the trip cause I wanted.

[Jennifer Simard]

Them as well.

[Alison Stewart]

That the cast of dead Outlaw performing dead on our show last year during its off Broadway run. The show is now running on Broadway at the Longegar theater through the end.

[WNYC Studios]

Of July until that day you vanish just keep pushing pushers you just keep cheating cheating like those religious leaders petty to do. So you kick, you scream, you hear the graduation thing, Jehovah calls your name and then she takes you away. Babe Ruth is dead. George Custer's dead. Black Elk is dead. And so are you. Joe Young is dead. Bert County's dead. Glenn Gould is dead. So are you. Your mama's dead. Your daddy's dead. They're all just dead. And so are you. Look at them. Dead. Look at me, Dan. Look at you, Deb. S o I u s o I.

[Alison Stewart]

U.

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