‘Death Becomes Her’ Begins a New Life with Tour Launch at Playhouse Square

Much like its deathless main characters, the story of “Death Becomes Her” has staying power.

The 1992 black comedy film starring Meryl Streep, Bruce Willis and Goldie Hawn received mixed critical reviews, but instead of kicking the bucket, it became a cult classic with a devout following.

The musical adaptation of “Death Becomes Her” opened on Broadway in November 2024, but closed the curtains on its run on June 28, 2026, after 650 regular performances. Less than three months later, the show has been reincarnated once again on Playhouse Square’s KeyBank State Theatre in Cleveland for the launch of its North American tour.

And if the opening night performance of the “Death Becomes Her” musical in Cleveland is anything to judge by, the show has a long life ahead of it, indeed.

The show promises a feast for the eyes the moment you step into the theater. An electric purple curtain, underlit by designer Justin Townsend with dramatic shadows, drapes around a gilded pedestal. When that curtain rises, a lively, eleven-piece band led by conductor Matt Doebler plays as the audience is introduced to the character Viola Van Horn, played by an icy, sexy Nasia Thomas. Fans of the cult classic welcome her with uproarious applause before Thomas even begins to sing, although her shimmering outfit and, later, her powerhouse vocals, prove to be well worth lauding.

Viola explains that within that central gilded pedestal is a magic potion that can grant its drinker eternal beauty and perfection. This point is driven home by a scandalously-clad, sparkling and seductive ensemble of immortals who are the picture of beauty and perfection as they saunter to director Christopher Gattelli’s lush choreography.

In the next number, we are introduced to Broadway actress Madeline Ashton, who performs a song paying tribute to the story’s dedicated queer fanbase, “For the Gaze” (Get it? For the gays). After the performance, Madeline is visited backstage by her oldest friend and greatest enemy, Helen Sharp. Helen, a struggling writer who has always found herself in the shadow of Madeline’s spotlight, is eager to show off her new fiancé, Ernest Menville, a famed plastic surgeon. Unfortunately for Helen, Madeline immediately sinks her claws into Ernest and steals away yet another one of Helen’s loves.

As time passes, Helen grows mad with jealousy and sets out to eliminate Madeline from her life once and for all. At the same time, Madeline grows older–a death sentence for a woman in Hollywood–and seeks a way to keep herself looking youthful. Both women believe they’ve found an answer to their problems in Viola’s magic potion, which will grant them the youth and vitality needed to accomplish their goals. Unfortunately, eternal life spent trying to best your sworn enemy can leave a few broken bodies behind.

Adapted for the stage with a book by Marco Pennette and music and lyrics by Julia Mattison and Noel Carey, the show remains largely faithful to the core story of the 1992 film–which cautions chasing youth–while also improving upon it in practically every way. Mattison and Carey ensured that there are rhythmic waves of vocal energy continuously carrying you through the narrative. Additionally, Pennette’s witty dialogue and biting insults are near constant and the dark, campy humor is delivered with exceptional comedic cadence, making the two hour and fifteen minute show pass in a blink.

Meryl Streep originated the self-absorbed, vain actress Madeline, while Goldie Hawn brought to life the jealous, revenge-driven Helen. Jackie Burns plays Madeline with a massive ego, unapologetic vanity and vicious mean girl energy while Kristen Beth Williams’s Helen is cunning, obsessively vengeful and ruthless in her ambition. They are both deeply unlikable, and yet the musical leans into that absurdity, poking fun at their extreme personalities and the unreasonable, murderous lengths Madeline and Helen will go to achieve their goals. Burns and Williams play off of one another effortlessly and are well matched as they go head-to-head with insults and physical attacks. Both Broadway veterans, they are also exquisite vocally.

These characters are, at their essence, the same as in the film, but given far greater depth thanks to the lyrically complex music. Fine examples of this can be found in Burns and Williams’s respective solo numbers, “Falling Apart” and “Madeline,” in which they explore their insecurities.

Ernest, a plastic surgeon and the catalyst for Madeline and Helen’s penultimate rivalry, also received favorable changes to his character development. Played with madcap energy by Ken Marino, Ernest begins as a surgeon excited to improve the world, but is corrupted by Madeline. “The Plan,” a number in which Ernest hallucinates and quick-talks sense into himself as he grapples with the ramifications of the magic potion, is a wonderful addition.

Other enjoyable additions to the story’s comedic relief are Sefan, Madeline’s exasperated assistant played by Michael Buchanan, and Chagall, Viola’s condescending head of household played by Louis Williams Jr.

The original film is known for its groundbreaking special effects of broken bodies and magical revitalization, which Tim Clothier brings to life on stage using a slew of clever illusions. Iconic outfits from the film are paid homage by Tony Award-winning costume designer (and Akron native) Paul Tazewell. His dazzling designs for Viola and her troop of immortals are jaw-dropping–and scandalous. Be warned that the show is far more sexual than the source material. That being said, the Broadway version features a few bare butts, but the tour has forgone this bit of exposure.

Derek McLane’s set design wows during its depiction of Viola’s castle and the interior of Madeline’s home that features a grand staircase. The former utilizes detailed, repeating arches and projections to create illusions of expansive spaces, but these projected backgrounds are less successful in their hazy depiction of city skylines and Beverly Hills palms.

As previously stated, this story, much like its deathless main characters, has staying power. But unlike its main characters who gain eternal life by drinking a magic potion, the reason for the musical’s continuing appeal has a more logical explanation: lush visuals, interesting music, a witty script and a timeless theme explored by talent that’s to die for.

“Death Becomes Her” runs through Oct. 3, 2026, at Playhouse Square,1501 Euclid Avenue, Cleveland. Visit playhousesquare.org or call (216) 241-6000 for tickets, $42-150.