Death Becomes Her review

Jennifer Simard, Megan Hilty and Christopher Sieber (Photo: Matthew Murphy & Evan Zimmerman)

Female friendship that turns sour is at the core of one of the season's big movies, Wicked, and also central to the plot of Death Becomes Her, the latest movie-to-musical adaptation to hit Broadway. But it's hard to believe that fallen screen star Madeline Ashton and writer Helen Sharp were ever chummy, and that means this pushy comedic tuner gives them little of substance to sing about.

Still, the comic chops of Megan Hilty and Jennifer Simard turn this into a lively, memorable event. The show, which has a book by Marco Pennette and music and lyrics by Julia Mattison and Noel Carey, ramps up the camp but doesn't present a story and characters that engage. Instead, it's up to a bevy of special effects from Tim Clothier to wow the audience, and they don't disappoint. 

The premise is the same as in the 1992 Robert Zemeckis film that starred Meryl Streep, Goldie Hawn and Bruce Willis: Helen (Simard) is engaged to plastic surgeon Ernest (Christopher Sieber), until Madeline (Hilty) steals him away. Time jump several years and Ernest and Madeline are miserable, but Helen is a published author who seems to have found the fountain of youth. Actually, she's enlisted the services of the mysterious Viola Van Horn, played by Destiny's Child alum Michelle Williams, who has a way to stop the aging process, but it comes at a price. The women won't age and can't die, but their bodies will bear the scars of any injuries. 

And that's a problem when they begin to violently assault (even decapitate) each other. This is pulled off with doubles and masterful special effects. If only what had been put on the page were as exciting. Unfortunately, most of the score is forgettable, not an easily overlooked flaw when you're writing a musical. (How many times are Helen and Madeline supposed to sing about how old and decrepit they claim they're becoming?)

Pennette, a successful sitcom writer, has scripted a book that's heavy on jokes (many of which the audience can beat to the punchline) and light on character development. If you're a fan of the film and excessively campy humor, you may not mind. Otherwise, you might find Death Becomes Her, like its two central characters, splendid on the outside but hollow within. 

Maybe Happy Ending review

Helen J. Shen and Darren Criss in Maybe Happy Ending

As the world ponders the impact that artificial intelligence will have on humans, Maybe Happy Ending, a charming, whimsical new Broadway musical inverts that premise, exploring the harm that well-meaning yet inconsistent mortals could cause their devoted robotic pals. Now playing at the Belasco, it's easily the most enchanting new musical to arrive on Broadway this year.

It's set in South Korea, where Will Aronson and Hue Park's musical already had a successful run. This English-language version stars Emmy winner Darren Criss as Oliver, a humanoid model 3 Helperbot merrily passing the days in his room. He listens to jazz, talks to his plant and waits for his owner to send for him.

Oliver's orderly world is thrown into chaos when model 5 Claire (sensitively played by Helen J. Shen) shows up at his door in need of a charger. Because she's a newer model, Claire is a bit more advanced when it comes to understanding humans — and she realizes they've both been "retired," aka sent to live out their days in a community for old tech until their batteries run out because replacement parts have been discontinued.

Claire doesn't have the heart (or any heart for that matter) to shatter Oliver's sunny illusions, but she does join him on a journey to visit his former owner, James (Marcus Choi), which proves life-changing for both. And yes, it's clear that Oliver and Claire have the capacity to love.

Aronson's music and Park's lyrics are at their best when they're penning jazz numbers for Oliver's favorite musician, Gil Brentley (Dez Duron). Under the direction of Michael Arden, both Criss and Shen deliver touching, evocative performances. Criss, in particular excels at maintaining Oliver's stilted movements throughout the show'a hour and 45 minutes. 

And the show looks beautiful thanks to set, video and projection design by Dane Laffrey and George Reeve. Oliver's and Claire's worlds begin small, with both confined to their small studio apartments. But as they venture out into the open, and experience the beauty of nature, the set expands to fill the stage as their emotions are released.

How ironic that such humanity should occur in a show with a pair of robots as its main characters!