A perfect rejoinder to the ubiquitous Broadway Sucks These Days gripe about the too-many movie-to-stage adaptations has arrived at long last, and it’s a simple three-word response: Death Becomes Her.
A virtually perfect big-budget, broad-appeal musical comedy that improves in every way over the 1992 film, director-choreographer Christopher Gattelli’s wildly entertaining vehicle for two of our best singer-actor-comedians on any stage today renders the movie-as-source snipe worthless.
Don’t waste a minute’s thought on which of the two – Megan Hilty or Jennifer Simard – come out on top with this delight of a holiday gift (let Tony voters lose sleep over that one next spring).
The two work together like the ingredients of a dangerous magical potion, each delivering precisely nuanced yet stupendously big performances in amounts that, were they off by so much as a fraction, would thoroughly undo the magic.
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