'Death Becomes Her' On Broadway!

Summary

The Broadway Show: Uncut – Episode Summary: 'Death Becomes Her' On Broadway!

Release Date: February 11, 2025

Introduction

In this vibrant episode of “The Broadway Show: Uncut,” host Tamsen Fadal delves deep into the enchanting world of the Broadway production of Death Becomes Her. The episode features engaging conversations with the star power behind the musical, Megan Hilty and Jennifer Simard, as well as an insightful interview with the show’s acclaimed costume designer, Paul Tazewell. Skipping over promotional segments, this summary captures the essence of the discussions, highlighting key points, memorable quotes, and behind-the-scenes revelations.

Spotlight on the Stars: Megan Hilty and Jennifer Simard

The episode kicks off with correspondent Paul Wontorek engaging Megan Hilty and Jennifer Simard in a lively discussion about their roles in Death Becomes Her.

Megan Hilty expresses her awe and excitement:

“I still don't really believe that it's real. It's so grand and it's so wonderful, and so many elements of this. What you see on stage and what we experience offstage are fabulous. So I'm still pinching myself every day.” (00:39)

Jennifer Simard echoes this sentiment:

“Not only is the music... exceptional, but what these writers and artists collectively have done to translate it to stage is one for the books.” (01:08)

The hosts delve into the challenges and joys of adapting a beloved film into a Broadway musical. Both actresses highlight their admiration for the creative team and the original material, emphasizing the seamless blend of homage and innovation.

Behind the Scenes: Character Development and Dynamics

Paul Wontorek probes into the complexity of their characters, Madeline and Helen, noting the delicate balance between grandeur and humanity required to portray such iconic roles.

Megan Hilty reflects on the creative freedom provided by director Christopher Criscatelli:

“I feel like Criscatelli has set up this really yummy environment for us to just really explore anything.” (05:34)

Jennifer Simard adds depth to their discussion on maintaining authenticity:

“Even when you're using the largest brushstroke, that it has to be based in something real.” (05:50)

The actresses discuss the intricate chemistry between their characters, portraying both rivalry and deep-seated friendship. They emphasize the importance of grounding their performances in truth to achieve believable and relatable dynamics on stage.

Creating Magic: Special Effects and Theatrical Illusions

The conversation shifts to the technical marvels of translating memorable film effects to the stage. Megan and Jennifer share their excitement and the playful challenges they faced:

Megan Hilty humorously notes:

“It's very fun because it's not something that I'm used to doing at all being introduced to this illusion world.” (08:07)

Jennifer Simard speaks to the ingenuity behind the illusions:

“We have a whole workshop. I am sitting here with a hole in my stomach as we speak.” (08:28)

Their dialogue underscores the innovative techniques and collaborative efforts required to bring intricate special effects to life in a live theatrical setting.

Costume Design with Paul Tazewell

Transitioning to the second segment, host Tamsen Fadal introduces Beth Stevens, who interviews Paul Tazewell, the mastermind behind the show’s captivating costumes.

Beth Stevens begins by asking about the show's thematic elements:

“Do you think Death Becomes Her is the ultimate makeover show?” (10:38)

Paul Tazewell enthusiastically responds:

“I think that you could say that. It does bring up serious questions around how we see ageism and youth and beauty and femininity.” (10:47)

He delves into his design inspirations, blending elements of glamour with dark humor. Tazewell discusses the color palette, notably the use of lavender and purple tones to symbolize the fountain of youth and the transformative effects of Viola’s potion.

“Early on, I made the decision that the color palette would be reflective of the potion that they drink, you know, that is the cause of, you know, the fountain of youth.” (15:01)

Tazewell also highlights the versatility of the Immortals’ costumes, which evolve throughout the show to reflect their transformation from ordinary beings to glamorous immortals. He touches on the technical aspects of creating visual illusions, such as prosthetics and fabric manipulation, to achieve iconic moments like the stomach wound and the twisted neck.

Fashion and Cultural Commentary

Beth Stevens transitions the conversation to broader fashion trends, prompting Tazewell to share his personal views:

“I think sweat suits and sweatpants on airplanes should never die.” (19:20)

This light-hearted exchange showcases Tazewell’s ability to intertwine practical design considerations with theatrical flair, reinforcing the show's themes of transformation and immortality.

Conclusion

Wrapping up the episode, Tamsen Fadal thanks her guests and encapsulates the magical allure of Death Becomes Her on Broadway. Listeners are left with a deeper appreciation for the intricate blend of performance, design, and storytelling that brings this beloved story to the stage. The episode not only celebrates the talent of Megan Hilty, Jennifer Simard, and Paul Tazewell but also offers an intimate glimpse into the creative processes that make such a production a resounding success.

Stay tuned to The Broadway Show: Uncut for more exclusive interviews and behind-the-scenes stories from the heart of Broadway.

Transcript

[Tamsen Fadal]

It's the Broadway show Uncut. I'm so glad you're here. I'm Tamsen Fadal. Two great interviews on this episode of the POD coming up in just a few. We're talking to the designer of the musical's incredible costumes, Paul Tazewell. But first, the stars of Death becomes Her. Paul Wontorek. Caught up with Broadway's best frenemies, Megan Hilty and. And Jennifer Simard.

[Paul Wontorek]

Hey, ladies. I'm so thrilled you're back on Broadway together. How's it feeling to be launching this major Broadway musical?

[Megan Hilty]

I still don't really believe that it's real. It's so grand and it's so wonderful, and so many elements of this. What you see on stage and what we experience offstage are fabulous. So I'm still pinching myself every day.

[Paul Wontorek]

This is also one of those titles. And you've both been in musicals like this, based on a movie that everybody's like, that should be a musical. Right. You've been through that before. And this is one of those. Right. I'm sure you experience this all the time in your regular life.

[Jennifer Simard]

Oh, yeah. I think I still have the ticket stub from when the movie came out somewhere. Really? Yeah. And I think everyone knew this would make a great musical. And I'm happy to report that not only is the music. Not only is the movie as exceptional as it is, but what these writers and artists collectively have done to translate it to stage is one for the books. Isn't it really wonderful?

[Megan Hilty]

Absolutely. Yeah. Because it's one of the most iconic movies ever made. But what they've done is taken that and made it completely its own while paying homage to what's been done before us. I'm really thrilled for people to experience it.

[Paul Wontorek]

I'm also thrilled to report that the music's great.

[Megan Hilty]

I know.

[Paul Wontorek]

It's hilarious.

[Jennifer Simard]

You came in Chicago.

[Paul Wontorek]

I came. I had. Are you kidding me? I had to see it.

[Jennifer Simard]

Yes.

[Paul Wontorek]

It is fantastic.

[Jennifer Simard]

Agreed.

[Paul Wontorek]

So this is working.

[Megan Hilty]

Yeah.

[Paul Wontorek]

And you two are fantastic.

[Megan Hilty]

And we get to be. Thank you. But we get to be the first to voice all of these incredible original songs by Julian Noel.

[Paul Wontorek]

Get me that album already.

[Megan Hilty]

I mean, truly. Yeah. We want to record it tomorrow.

[Jennifer Simard]

I think that's one of the things I'm most excited about, is what it's going to do for this incredible writing duo, because they deserve the moon. It's that good. You know, I've been in things where you're like, you know, this could be better. They knock it out of the park.

[Megan Hilty]

They're about to be so famous, they're not gonna have time to talk to us anymore. So we gotta get our FaceTime in.

[Jennifer Simard]

That's right. Yeah, that's right. Yeah.

[Paul Wontorek]

I'm thrilled for the opportunity of you two. I've loved both of you forever. I've followed your career for decades. Plural.

[Jennifer Simard]

I mean, decade. We're very. We're only 20.

[Megan Hilty]

I just started. Yeah, yeah, I just started this whole Broadway thing.

[Jennifer Simard]

We'll go with plural.

[Tamsen Fadal]

Sure.

[Megan Hilty]

Just a baby.

[Paul Wontorek]

But it's not every day you get a lead in a brand new Broadway musical. I mean, this is huge.

[Megan Hilty]

Oh, it's humongous. Yeah.

[Jennifer Simard]

We were saying once too, like, the canon of two women on Broadway, it's not that large. And so it is quite a. It's quite an honor. And you know, if we female producers. That sounds good to me. Like, I just, I'm just really excited. And I don't know about you, but I know that I don't take it for granted for a second how I always wanted this. Right? And little girl, you know how many people would love to be in our shoes, treating it with great respect and hope. We live up to it.

[Megan Hilty]

I'm looking forward to the day where I'm taking the subway and there's really terrible things drawn on my face.

[Jennifer Simard]

You will have arrived.

[Megan Hilty]

That's when I'll know that I've made it. I can't wait.

[Paul Wontorek]

I'm excited for that. For you.

[Jennifer Simard]

Go for the teeth.

[Megan Hilty]

I'll send you the picture as soon as I experience it.

[Jennifer Simard]

Go for the teeth. If I see it.

[Megan Hilty]

Yeah, it's gonna be great. And Jen will be like, yeah, I did that. Like, yes.

[Jennifer Simard]

Thank you, thank you, thank you. Thank you so much. I appreciate it.

[Paul Wontorek]

So did you guys know each other at all?

[Megan Hilty]

I was just a fan of hers for not decades because we're just starting, but for a very long time, I've been a huge fan of Starfleet.

[Jennifer Simard]

You can find the photo of the day we met. It was at the 2016 Tony breakfast.

[Megan Hilty]

Oh, wait, what? When we were nominated for Tony's the same year at the same time, but.

[Jennifer Simard]

For Noises Off, a disaster. And there's a lovely picture. Megan's in black and white and I'm in pink. And it was a mutual admiration and we'd both heard great things about the other and yeah, yeah, happy to report they're all true. It's all true. And there you go.

[Paul Wontorek]

So these characters, Madeline, Helen, wow, they're a lot.

[Megan Hilty]

What makes you say that?

[Paul Wontorek]

I mean, these are women who live very large. Right. And they're very large characters to inhabit, but you make them. You also have to make them very human and build these real human relationships. I think you're doing that beautifully.

[Jennifer Simard]

Thank you.

[Paul Wontorek]

What is it like, that balance? Cause you do get to be extremely broad in the show as well.

[Megan Hilty]

I don't know. I don't know. Because it does feel like. I just feel like Criscatelli has set up this really yummy environment for us to just really explore anything. And I feel like at this point, I'm just trying. Like, I'm waiting for somebody to say, no, that's too much like, please, please don't do that. But I love that we have this space where we get to. And inherently, like, you have to. You have to bring yourself to it. Otherwise it's not real. So I don't know what technically, what that is, where that. Like, how to put words to that balance, but it is very much at the center of what we're doing, I think.

[Jennifer Simard]

Yes. And to add on is the. You said, how can you be so broad? You have to know that even when you're using the largest brushstroke, that it has to be based in something real. And sometimes you can go in with a fine brushstroke. And usually, to Megan's point, if you bring yourself to it, it's always going to be grounded if you work from the inside out. So even the broadest things are based in truth. And Christopher is just wonderful. And our friend Jerry Zaks. My friend Jerry Zaks, I've worked for everybody. He always says, when in doubt, just plant your feet, look the other guy in the eye, and tell the truth, and then you're fine, you know, and listen. And I do love. I think we're both really good at listening to each other on stage and talking with our eyes. And I really appreciate that as your scene part. And that keeps it honest even when we're doing the most ridiculous things. Yeah.

[Paul Wontorek]

I mean, not since Roxy and Velma have two showbiz ladies, maybe rivaled each other, but needed each other so much. It's such a fun dynamic between these women, and it's sort of a. How would you describe their enemies at times, their rivals? They come together like it's a fun. It's a fun story.

[Megan Hilty]

Like any friendship, there are dynamics. You know, theirs just happen to have. Like, their range is a little, maybe wider, but at the core, they love each other. And the whole reason why that everything that drives what we do is because we want to impress the other one we want. Even. It might come across as, like, we want to top the other one, but it's. It comes from a place of admiration and love. Otherwise, it doesn't work.

[Jennifer Simard]

Yeah. In every relationship, there are gonna be times when you're in sync and you're not in sync, and you have to ride those waves. And I think with the two of them, eventually you get on each other's nerves, especially with the people you love the most and feel safest with. Right. So these two definitely have known each other for years. So that's all there. But ultimately realizing it becomes, on a surface level, I think, a bit of a buddy flick between these two fabulous women. On a theatrical level and. Yes. And realizing that, oh, there's deep love and you are my person and I am yours. And the beauty in that.

[Paul Wontorek]

This movie is also really known for incredible special effects that you are sort of tasked with recreating on stage. And it's really fun to watch how you do it in a theatrical way. What is it like? What is the challenge of that like for you? And I'm sure it's sort of a process.

[Jennifer Simard]

It's just.

[Megan Hilty]

It's very fun because it's not something that I'm used to doing at all being introduced to this illusion world. And from what I understand, a lot of these things are going to evolve even more for Broadway. So I'm really excited to see how these things are going to change.

[Paul Wontorek]

But to be clear, you can't actually turn your head around and you don't actually have a hole in your chest.

[Jennifer Simard]

That's right. We have a whole workshop. I am sitting here with a hole in my stomach as we speak. That's why I'm not drinking.

[Paul Wontorek]

She's been hiding it for however many years.

[Jennifer Simard]

We never knew, but I think we're magicians now. Is there a union we need to join?

[Megan Hilty]

We are multi hyphenates now.

[Jennifer Simard]

We are.

[Megan Hilty]

We are illusionists. Action stars.

[Jennifer Simard]

It's a lot.

[Megan Hilty]

A singer who moves well.

[Jennifer Simard]

There's a lot of hyphens in there. What'd you say? Not since Gwen Burden and Cheetah River.

[Megan Hilty]

Absolutely.

[Jennifer Simard]

They're all dancers. Us, too.

[Megan Hilty]

Us, too.

[Jennifer Simard]

Absolutely. Socks. Yeah. We're the dance captains. You're doing it wrong.

[Megan Hilty]

Yeah.

[Paul Wontorek]

So what are you looking forward to with actually bringing this show to Broadway audiences and to the fans and doing it for the gays. G, A, Z, E and all those things.

[Jennifer Simard]

Just wait, Just wait. May I? May I? Yeah. Well, yeah, the thing I'm looking forward to the most Is that it's a really good show. They shall remain nameless. But I've been involved in some clunkers. What? This is a win, in my opinion. It's just a winner in this purest sense of that word. And the audiences are gonna eat it alive. Yeah, yeah. They're just gonna love it.

[Megan Hilty]

That's what we found in Chicago. Like, the audiences couldn't get enough, it felt like. And it became. It became a thing. Like, people would come back multiple times dressed in cosplay. By the end, did you hear people saying our lines with us in the audience?

[Jennifer Simard]

Yes.

[Megan Hilty]

And that house is huge. It's over 2,000 people.

[Jennifer Simard]

I didn't know there was cosplay, though. Oh.

[Megan Hilty]

Oh, I need to see cosplay.

[Paul Wontorek]

The note I watch.

[Megan Hilty]

I know every actor. Yeah, yeah, yeah, yeah, yeah, yeah. No, it's still. It's that it's an event and it's. Yes, it's a beautiful story about friendship, but it is a good time. You come, you check your worries at the door, and you come and just laugh at us being silly for what, two and a half hours?

[Jennifer Simard]

Yeah.

[Tamsen Fadal]

And as we said, Death Becomes her is casting a magical spell on Broadway audiences. Here's Beth Stevens chatting with the show's costume designer.

[Beth Stevens]

In the most exciting, extreme sense. Do you think Death Becomes her is the ultimate makeover show?

[Paul Tazewell]

Yeah, I think that you could say that. I mean, it does bring up, you know, serious questions around how we see ageism and youth and beauty and. And also, you know, femininity. And, you know, I think is grappling with some serious issues in a very funny way.

[Beth Stevens]

A very funny way. What appealed to you about working on this project? It has glamour and dark humor.

[Paul Tazewell]

I love the film with Meryl Streep and Goldie Hawn and Bruce Willis. I mean, I just. I fell in love with it. And also Isabella Rossellini. I don't know. I just, you know, I remember cackling through the whole thing and when it first came out, and then to approach it as a musical with this wonderful cast. Megan Hilty, Jen Smard, they're amazing. Michelle Williams that I dressed in the Color Purple. And now to dress her again. It's really a wonderful kind of circling back.

[Beth Stevens]

Tell me about some of the techniques or materials you used for the visual illusions of this show. And we won't give too much away.

[Paul Tazewell]

We dipped into a lot of different things. I mean, you know, I would say the strong or biggest design element, the strongest design element, is the world of sparkle and glamour. So, you know, with approaching all those, you know, I was making, you know, our leading ladies look as amazing as possible. And then when you're faced with, you know, one of the characters gets shot in the stomach, and that is, you know, that's a very iconic, memorable moment from the film. How it gets carried out for stage was, you know, it took a lot of R and D, and, you know, we had to figure out what was going to actually show up theatrically. And so I think that people, you know, it always gets a laugh, and I think that people are satisfied with, you know, how we've approached that, as well as the twisted neck that is as performed by Megan Hilty as Madeline. You know, I think that it all works. There's a little bit of prosthetics, you know, so we're dipping into kind of the film world and marrying that with the theatrical world. And, you know, I. I certainly hope that people are satisfied.

[Beth Stevens]

What were your inspirations beyond the film? Because you got to both show them as the stars, as frumpy and mousy, and then really, the ultimate divas. So tell me what you were looking to. For inspiration for those things.

[Paul Tazewell]

I think, you know, it's always, you know, what. What we collectively, as a society view as, you know, you know, tapping into what is glamour, you know, and how can I maximize that feeling of glamour on each of our. Our actors and actresses? Yeah, so it's, you know, I'm. I'm always, you know, exploring, you know, what. What are those. What are those qualities that will bring that out? You know, early on, I made the decision that the color palette would be reflective of the potion that they drink, you know, that is the cause of, you know, the fountain of youth. The fountain of youth, if you will. Yeah. So the whole world of Viola and even her name is, you know, representative of this potion. But, you know, then everyone that is surrounds her within her castle, her community of walking dead, Glamorous walking dead, you know, and then anyone who is touched by Viola and her potion goes to that lavender or purple tone.

[Beth Stevens]

Well, even from the beginning, we've got this crystal amethyst mystic type look.

[Jennifer Simard]

Right?

[Paul Tazewell]

That's right. That's right. So, you know, I think that it's pretty consistent and exciting. I mean, it's rare that I have the opportunity to do something so uber glamorous. You know, my work, you know, has been so varied, but I've had a huge amount of fun designing this.

[Beth Stevens]

You know, when you did Summer, for example, you obviously used Donna Summer, but you also went to some other Divas. Did you do that here as well?

[Paul Tazewell]

Well, you know, with the opening number, we're tapping into icons that are, you know, kind of, you know, Broadway icons and, you know, performance icons that we kind of mimic in a way that, you know, they're all very playful, but also, you know, looking at different, you know, always looking at qualities of glamour that will read for an audience, you know. And I don't know that there was anyone that was specific, but it was very important for, you know, to pull out the most glamorous representation of who Megan Hilty is and then who Jen Simard is and then create that for them, you know, as they're playing Madeleine, Helen. And, you know, it's silhouette wise. You know, it isn't represented in the film necessarily how we represent them. But I think that it does fill that visual moment.

[Beth Stevens]

I noticed when I was watching it that the ensemble and they're called the Immortals, I think they actually, their costumes change throughout the show. It's not just a static thing. Tell me about developing those costumes.

[Paul Tazewell]

Well, what that is, the group of Immortals are really the chorus. I mean, it's kind of a Greek chorus surrounding Michelle Williams as Viola. But they are the, I guess, the standard of beauty that those that take the potion are looking up to. So we've got this chorus of dancers with dancers bodies. And I made the decision that in order to show them off, we would clothe them in as little as possible. They're in body suits that are purple velvet with flesh tone cutouts. And they are then sparkled as well. But each of those sinewy lines shows off their musculature and their athleticism and just projecting this very fashion forward but very sexy kind of body image. And then we see them dressed up because they have the Immortals ball. And so they each dress in, you know, kind of clothing, you know, glamorous clothing that they wear to this ball. It's a, you know, kind of a voguing ball, really. And then, you know, all led by the wonderful Michelle Williams as Viola. She is completely decked out. Every time that she walks on stage, she's in another beaded gown. And it's, you know, it's just a delight. So it's just wonderful. I mean, she starts in this amazing coat wrapped in, you know, black with crystal, kind of a crystal explosion front and back. And then it's almost like a geode because, you know, then her head is peeking out of crystallized amethyst collar and.

[Beth Stevens]

No one wears it better.

[Paul Tazewell]

You couldn't ask for somebody to wear it better.

[Beth Stevens]

Well, since this show deals so much with immortality, I wanted to ask you if there is a fashion trend that you think will never die but should.

[Paul Wontorek]

Hmm.

[Paul Tazewell]

I think sweat suits and sweatpants on airplanes.

[Beth Stevens]

I'm with you. Yeah, I'm with you.

[Paul Tazewell]

You know, it's comfortable.

[Beth Stevens]

I get it.

[Paul Tazewell]

Yeah. Yeah. But there's a place in time.

[Beth Stevens]

Well, thank you so much.

[Paul Tazewell]

Absolutely. Thank you.

[Tamsen Fadal]

And that's it for this latest episode of the Broadway show Uncut. Until next time, I'm Tamsen.