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'Death Becomes Her' Music and Technical Aspects | Box Seat Babes Podcast · The BSB Podcast

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  warning, we will be talking about the musical and the movie.
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  Aspects of that so if you want to go on blind scroll on and come back to this later So quick recap Madeline Ashton Helen Sharp frenemies the definition of frenemies from the 90s
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  Love to hate each other hate to love each other who?
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  get a magical potion that makes them live forever and They are stuck in an ever never-ending war over a man Do they survive?
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  Do they get the man?
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  Or do they just become lesbians falling apart?
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  Unfortunately, you gotta see the show to get those questions or listen to part one.
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  But there's a lot of exciting aspects in the story, but there's also even more about the music and the stage direction of the Death Becomes Her.
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  So I wanna start with the music.
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  This is...
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  This is Broadway?
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  I mean, so the music of the show is, felt very standard Broadway in some ways, and yet it didn't.
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  I don't know how to describe it, and I'm hoping you have some better words for it because you are my musical expert here.
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  What is Death Becomes Her
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  I would say standard musical comedy type Broadway.
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  Because you have art imitating art, so because she's playing an actress, and they're kind of like in the Hollywood limelight, you do have things that are a little bit more like big
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  musical theater stage numbers.
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  for sure.
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  Don't mind my dog just deciding to dig at the floor all of sudden.
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  He's just making his territory.
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  Honestly, I think there's like something under must be something under the rug or something but but Yeah, like we spoke on the in part one like for the gays obviously like
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  a Showstopper over-the-top satire Like cost quick costume changes
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  Like all the things that you expect in a musical, like basically in a number.
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  Meanwhile, you don't like the power ballads come, but not in a like emotive type way.
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  They're just like, I mean, Michelle Williams just belting, you know, the opening number and a few there after, but a lot of the banter ish, like the talk, the talk, singy,
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  Yeah, that's super musical terms.
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  Numbers where they're duetting at each other or that's kind of like a more conversation based numbers, I think.
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  Even later on in
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  Why am I?
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  What song?
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  his name, Ernest, even even in his
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  very funny number.
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  It's still a little bit of we're talking, we're singing, we're talking some more, but it's like a sing songy.
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  It's all in all, it's not like the most complicated music that you've ever heard.
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  And it's not the hardest music you've ever had to sing.
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  It's just because
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  because of the physical and overall comedy.
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  And that's usually the way it is.
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  you're doing two things, which in this case, you're doing comedy and you're singing, you're not gonna be doing a ton of like, let's break out into a big dance.
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  I totally understand what you're doing.
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  Forever Young, I feel like is one of those ballads where they do get to kind of sing at each other, but that one is a little more like they stand there and they sing at each
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  other because they're, you know, alive forever.
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  It's actually was what I'm thinking of alive forever.
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  And they're just kind of singing at each other about like they're going to be alive forever and they're going to be together forever.
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  They're going to be best friends.
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  And then there's like those dance numbers, like for the gaze like you said, like it's just very, it's heavy dancing.
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  It's a little, it's more upbeat, but it's not like.
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  super like you're not just hitting high notes and holding them, you know?
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  A lot of it almost reminds me of what came to mind when you said about the Ernest song was the Not Getting Married Today from Company, where it's just kind of like there's it's like
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  talking like there's music going, but you're kind of just like talking.
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  You're kind of saying the words and like part of the comedy is from the fact of like.
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  You're just Ernest kind of off kilter off key a little bit, and he's just kind of a.
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  He's just kind of a dude and he's just, you know, so that song kind of represents that.
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  But there's like so much variation in the music that you get in the show.
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  I think it's kind of what comes to mind is like you're getting some really powerful ballads, but a lot of it is kind of that just like the fresh and funky campy songs that
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  are going to get stuck in people's head.
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  Like you're going to be singing these songs for a long time.
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  This is kind of what comes to mind.
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  Do you feel like the music matches the sharp wit of the show?
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  Because this is a very witty show.
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  They put a lot of energy into the dynamics of the characters.
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  And I think that comes from the film.
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  The Robert Zumeckis film is very witty.
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  There's a lot of banter.
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  And you mentioned some of the songs even having that banter.
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  So do you feel like the music matches that?
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  Yeah, I think so.
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  I think it would feel unnatural if you didn't have that built into it because that is the dialogue that's really happening.
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  Because really the music should just be a continuation of the dialogue, but just set to music.
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  So I think the transitions and the over the top, like the music.
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  in a sense, also feels equally over the top.
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  In some points, very dynamic, very grandiose, especially in those moments where we are.
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  talking about the potion and just like the dramatic way that it's incorporated, even when they're not singing, but just woven throughout the show, like music's important.
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  sure.
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  It is so like, it's interesting to like be such a fan of the film.
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  And to think of it now about the music because I actually remember we were in our hotel room and I was like, I was playing you the theme of the movie and I said they played like
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  they wove this through a lot of the songs and like, like, like it almost I can't picture without the music now I can't picture without the songs.
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  And and thinking of Madeline Ashton and Helen Sharp singing a lot of these songs.
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  And so think there was a beauty to that because they really understood the source material.
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  And then they just like, they took that tapestry and they just made it more.
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  They made it something special that you just, you cannot get unless you see the musical.
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  Well, yeah, and the opening, the overture, like even the level at which it was they were playing, like it was like so loud that it was like shook you to your core and very like.
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  I don't think that they were playing even an organ sound.
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  Maybe they were, but it almost sounded like that.
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  We were getting creepy, dramatic, but also my seat is vibrating and there's a level of poppiness to it.
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  So it's not just like.
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  Like, you know that you're not about to sit through something like, I don't know, like Oklahoma, right?
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  But you still are getting those, like those standard, like this is a clear cut opening number, um, like the curtain rises type situation, which a lot of shows, you don't even
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  get that anymore.
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  You just, you have pre-show ritual or you have
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  you already see the set or whatever it is.
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  So even bringing that back gave it like an old timey feel, but it was still, it still felt very modern.
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  I know if you remember, but I almost was so giddy when they started playing the overture because it was like the thing about it was it set the tone for anybody that was there, but
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  anybody who had seen the film that was so easily recognizable that like I was just like, my gosh, I'm seeing this movie that I love.
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  seeing this.
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  I'm seeing the show.
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  I was so enamored by just the first note.
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  As soon as they hit that first note, and it does sound like an organ and the way it kind of goes and you're just like, oh, you're just like time warped back.
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  into this film and you're ready and there's just like that that to me was one of the most exciting parts of the whole show was just like getting that moment of like transporting me
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  back and taking me there.
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  But I do have to talk to you about that curtain because before we talk about the staging I feel like that curtain was almost magic in and of itself.
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  It was like on a series of pulleys correct?
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  Yeah, yeah, and usually curtains are, I mean, they're on some type of system.
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  That one specifically may have had multiple because of the way in which it operated.
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  It wasn't just like a standard, and we're going up and we're going down.
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  Like it had levels to it, which makes me think it was like a multi, there was like a multi systems in place there, which usually are like,
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  literally run by humans.
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  Unlike a lot of the lighting and stuff that is now of course computerized and programmed,
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  most set pieces that are if they're moving like from the ceiling to the floor, they are being operated operated by a human being.
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  So I'm always just super impressed with that because anything can go wrong at any time.
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  And, and it's very, they're very heavy, like, it's not like you're just, I'm just like lifting this piece of paper, like, they are still like all that material.
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  especially for a stage of that size, like it's a workout.
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  I was going to say, that curtain almost had a personality of itself.
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  It was so thick.
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  was so, like, it gave luxury, like, and they added to the camp.
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  And the way, it would, they could move it.
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  sometimes it became part of the set where, like, it would go around a door and it would just flow into it.
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  I was just like, this was such a genius.
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  Like, this was just, like, what a way to capture Death Becomes Her.
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  And we have been in this theater before.
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  We saw Sweeney Todd there.
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  And.
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  we kind of know, we kind of knew what to expect.
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  And there was just so much, like that curtain was not there last time, because this was like a purple curtain that was made for the show.
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  And it was just such a...
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  Like I was almost so impressed by the curtain that sometimes I forgot what was happening on the stage.
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  I was just like, wow, what is going on?
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  Like they're like, it's coming down, it's going up.
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  And the fact that even as possibly all humans is even more impressive and just like shows to like the art of...
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  Death becomes her.
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  Yeah, they used it in so many varieties, which you don't see that too frequently.
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  I think actually that's the only time I've really seen it that way.
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  Like you mentioned, around doors, around actors.
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  It was pretty unique.
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  What did you think about the sets?
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  Because there was some pretty huge sets moving in and out.
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  And granted, maybe some of it was like screen on the back.
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  And that would be something I'd be interested in because there was sometimes I was trying to figure that out.
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  But there were some huge set pieces going on.
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  What did you think of all that?
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  Yeah, I think it matched.
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  Nothing felt out of place.
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  Which is always super interesting because when you have a show like this that is moving through so much time, that also means that typically you have twice as many set pieces to
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  be moving because you're not, you're only using that portion of the set for a limited amount of time.
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  And so I'm sure it's a busy backstage traffic area.
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  But yeah, everything felt, but it felt practical.
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  I do see more shows using like the drop down.
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  Like I'm thinking of the pillars, some of the pillars that were used for, I don't know what we call them.
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  Like are they the undead?
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  The the and more of Viola's castle
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  Yes, yeah, the castle.
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  I think they were maybe one or two pillars that were 3D, like that were real, but the rest were kind of brought down from the ceiling, the flat.
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  and like scrim variety type for a couple of the scenes.
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  But that's because they also backstage had to hide this massive staircase that they used for most of the show because all of that was real.
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  I mean, it took up space.
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  And yeah, there's only so much room and something like that.
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  I mean, I guess you could lift it, but you don't want that hanging above people's heads.
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  So, and that's usually with, depending on the stage of the set, the stage of the set, the size of the stage, that's where things go.
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  Oftentimes, you know, they're up above because you have people in the wings, right?
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  When you have an ensemble of
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  God, they had like 15 people.
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  And then primary, you had another five to eight.
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  You've got like almost 30 people, 30 people plus, because then you have the dressers, you have hair and makeup back there.
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  Like they are on set, on stage, the entire performance, if anything goes wrong.
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  And so it's, limited spacing.
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  So everything's going up in the air in regards to.
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  if they can manage to still make it realistic looking, which I think they succeeded with this show.
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  The thing about the castle specifically was, I don't know if this is just me, but it looked like it was almost like a hall of mirrors.
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  I don't know if they had a reflective screen that came down, everywhere you looked, there was just pillars, and it looked like it went on forever, which was a really cool aesthetic
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  for this never-ending castle, the idea of immortality.
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  And what an interesting way to do that.
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  Like there was like a reflective, I'm not making that up, right?
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  There was like a reflectiveness to the back that made it feel like holomere, is correct?
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  Yeah, yeah, I mean, it felt, and I also wasn't sure if it was almost like a holographic type situation or if it was a scrim that just was painted very, very well to make it feel
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  like you're kind of like a trick on the eyes in regards to it being farther and farther away.
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  for sure.
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  And then when you're talking about, when you talk about the stair set, just to paint a picture for people, there is Madeline Ashton's living room, like her mansion, and there's
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  a very big staircase that is very important to the storyline.
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  And they do some pretty cool things with it.
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  it like, it is, I would, I'd never in my head thought it was going to be that big.
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  Like I knew I had seen pictures of it.
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  I knew that I had seen, but it's like, it's a gigantic set.
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  that you're right, they can't exactly hide anywhere because it is all, it's huge, it's all practical.
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  They're not really hiding much.
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  It's all there.
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  Did you expect it to be that big?
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  I was kind of blown away by that.
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  I mean, it makes sense.
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  At first, I was like, wow, that's a lot of stairs for this size of a house even, basically.
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  But based on as the plot goes, it made way more sense because of the physicality and the importance to the plot of those.
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  I'm like, oh, yeah, OK, that tracks.
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  sure.
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  For those who don't know, mean, we already gave a spoiler alert, extra spoiler alert.
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  Madeline Ashton gets pushed down these stairs and what was probably one of the coolest bits of technicality in a show that I've ever seen, they, I think we figured out that it's
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  probably a stunt double.
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  You do see a cable, but there's a slow mode, slow mode dropping.
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  and tumbling down the stairs as Madeline Ashton's like breaking her neck and twisting her head, which I knew was coming.
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  But like for you, RJ, that had to be pretty surprising.
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  Yeah, I mean like after the first, because really it happens kind of twice, right?
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  Like the first time or that they're talking about it.
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  Yeah, yes.
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  And you're like, oh, ha ha.
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  And then when that whole sequence happens, which it is a sequence that I'm sure is so meticulously choreographed, I can only imagine what taking notes was like for that scene.
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  So props to literally every person that has to do it.
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  But yeah, it's just, it's insane.
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  It's it's it is once again that like we've been saying the campiness of it.
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  The drama.
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  Is obviously purposeful.
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  It's obviously over the top.
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  It's like you can't even roll your eyes because it's past I roll level.
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  It's just like.
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  Hilariously stupid.
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  And it just keeps going when you think it's going to stop you're like ha ha.
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  and then it goes for another five minutes.
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  Yeah, I mean like so the interesting thing about when act one ends and act two begins is like so she falls on the stairs They think she's dead Madeline stands up with her head
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  backwards basically
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  and the show cuts and it comes back to them kind of fighting.
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  And they're fighting through there, more things happen.
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  And then like, I think I got to the point where like Madeline's head was on the rolling cart and like they used like magician tricks of mirrors.
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  Then I was just like, oh, we have entered a new level of camp.
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  Like, and then you get to the part where Ernest is singing and like puppets come out and like puppets are singing to him.
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  And I was like, there was just like so much like the, cannot stop.
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  the level of humor here.
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  And I couldn't stop laughing at it.
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  And I think normally I would be like, OK, this is enough.
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  there was something about how it worked in the show that I could not stop enjoying it.
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  And it could be, again, that relationship I had with it for most of my life.
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  But you're right.
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  It was over the top.
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  It was 100 % over the top.
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  Well, yeah, and those, mean, obviously incredibly impressive.
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  Because they're using stunt doubles like a multiple, that also makes me think obviously these are ensemble members that are doing the stunts probably.
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  For sure.
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  just insane physical acting happening like so much physicality and obviously like in in some portions a level of danger
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  for sure.
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  But very smart.
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  Once again, haven't seen the movie, so I'm not sure how they even do the illusion of all of the things that occur.
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  I was super impressed with Helen's costuming.
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  I mean, and Madeline's too with the with the whole what I'm sure is like a prosthetic.
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  Yeah.
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  But the hole in the dress, is, and obviously like you know that, yeah, there's some optical illusions there, there's some mirrors, because she is pretty quick to put a cape
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  on.
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  But still, very impressive and just enough that you're like, you can really appreciate it.
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  before going to the show, know, this is one of my sister's favorite films too.
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  And I said, I'm going to see it on Broadway.
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  And we both were like, how are you going to have, how are you going to have a hole in her?
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  how are we going to do that on stage?
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  And like, that was really cool.
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  The smoke that was pouring out, the mirrors that they used.
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  And there was, like, when you talk about the costumes, not even just those costumes, but there is impressive costumes throughout this entire show.
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  Like the dresses that they've made for these women.
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  The characters are absolutely gorgeous, but how the humor is also drawn into them, like that one, or I'm thinking of the way that their dresses are, where Helen has, after
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  they're all fixed up, she still has these red lines that go down to a hole looking thing in her dress.
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  And Madeline has something that's kind of twisted up here, and they're still drawing these illusions to those.
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  the humor that has gone through the show.
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  The costumes were just unreal to me.
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  just, I know that it's probably won't win for costumes, but I think it has to greatly be considered when it comes to the Tonys because it was just super impressive.
• 23:25
  Yeah, yeah.
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  And as we know, like the level and amount of detail work, like these costumes are custom made for the actor.
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  Like, and to think that every little thing that they wear, even if it's for a moment, is being hand sewn, hand put together with every little jewel and every little
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  gem, particularly for this type of dazzly show.
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  And if one thing falls off, like you literally have costumers in the backstage, like, ready and waiting basically with a sewing kit in the wings.
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  And so it's just because that's how much attention to detail, of course, like that is why you go to Broadway.
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  because that's the level of attention that you're getting so that there is no missed point in the show.
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  When we're looking at the show, for me this was a win because I love Death Becomes Her, but for somebody who hasn't seen it, do you think that this show has a broader appeal?
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  Like do you think people who don't love the film already can, like, is this a show for them as well?
• 24:46
  Yeah, I think the only danger of it is the fact that is getting people in the door, I think, because you're not sure really what it's going to be.
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  And so once they're in, think if you like a musical comedy, like you're going to love the show.
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  It's just it is a well done musical comedy.
• 25:14
  It's just the initial.
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  Get him in the seat.
• 25:17
  Absolutely.
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  So what would you rate the show?
• 25:19
  I would give it a solid A.
• 25:21
  I'm going to go a step above.
• 25:22
  I'm going to give it an A plus.
• 25:23
  There's no way you're telling me that this show is not the greatest show that has ever existed for the 2024, 2025 season.
• 25:31
  Very specific, very niche.
• 25:33
  No.
• 25:33
  But I love the show.
• 25:36
  Would you go see it again?
• 25:37
  I would, yes, definitely.
• 25:40
  The entertainment value is 100 % there.
• 25:44
  I think this is one, it's also one that families can go to.
• 25:49
  I mean, know that there are some underlying sexual jokes, but honestly, not any more than what you would expect at a Disney production.
• 25:58
  Because there's adult humor that...
• 26:04
  like kids, I mean, for sure teenagers could see it, but I mean, younger kids wouldn't even get them.
• 26:13
  but I say that now I'm thinking to like the half nudity scenes and I'm like, I guess it depends on your parenting style, but, um, still definitely a great, like a great night out
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  with friends, a great night with family to go see the show and just laugh and have a good time.
• 26:34
  Absolutely.
• 26:35
  agree.
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  think so you say you say about like is this a family show and as somebody who has seen it when they were the movie when they're 13 Yeah, absolutely.
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  You should this is like for like those like Pre-teens to teenagers like those like that like that age bracket would I take my six-year-old to this?
• 26:50
  No, like this is not a show for like a six-year-old, but this is definitely for like an older family And it's just a great night out and who doesn't want to see Megan Hilty.
• 26:59
  We're so we still want to see Megan Hilty I'm going to see Megan Hilty in this role
• 27:03
  from the month through November.
• 27:06
  Absolutely.
• 27:07
  So that concludes our part two discussion of Death Becomes Her.
• 27:12
  Thank you so much for joining us in our box seats.
• 27:14
  Till next curtain call.