The phrase “Broadway transforms into her” perfectly encapsulates Megan Hilty‘s essence. When theater enthusiasts purchase a ticket to witness her performance in “Death Becomes Her”, they rightly expect to experience one of the definitive modern Broadway divas in a pivotal role. While this notion holds true, it is essential to recognize that opportunities to see Hilty in a significant part in one of New York’s prestigious theaters have not been as frequent as one might assume. This scarcity makes her comedic portrayal in “Death Becomes Her” an even more delightful experience to savor.

Hilty’s illustrious Broadway credits include a breakout performance as a beloved Glinda cover in “Wicked”, followed by her role as Dolly Parton in “9 to 5: The Musical”, and a Tony-nominated performance in the short-lived revival of “Noises Off”. However, for nearly the past nine years, her presence on Broadway has been noticeably absent. If audiences perceive her as a staple of the Broadway scene, it might stem from her two-season stint on NBC’s “Smash”, where viewers became accustomed to associating her with the world of theater. With “Death Becomes Her”, she is finally fulfilling that real-life-and-fiction destiny, drawing in over $1 million from more than 10,000 attendees weekly, six months into its successful run at the Lunt-Fontanne Theatre.

Adapted from the 1992 cult classic horror-comedy film, the stage production features Hilty alongside an equally wicked counterpart, Jennifer Simard (playing the role originally portrayed by Goldie Hawn, opposite Hilty’s Meryl Streep). They are supported by Michelle Williams (taking on the role of the mystical potion keeper originally played by Isabella Rossellini) and Christopher Sieber (in the cuckolded character inspired by Bruce Willis). Each of these performances offers its own compelling reason to see “Death Becomes Her”, enhanced by the clever direction and choreography of Christopher Gattelli, a witty book by Marco Pennette, and uproarious songs from Julia Mattison and Noel Carey. Yet, witnessing one of our finest musical comediennes embodying the notion that all is vanity is particularly gratifying for fans longing to see Hilty star in a Broadway production that lives up to the legacy of her former television series.

Many perceive you as one of those leading ladies whose presence is adored on theater marquees. However, you haven’t performed in countless Broadway shows. When you relocated to L.A. years ago, it may have seemed like Broadway was no longer a priority. What motivated you to head west, and how significant was the decision to return to New York?

I moved to L.A. primarily because we loved living there, and I was genuinely focused on the voiceover and television aspects of my career. [Hilty has done voice work for shows like “T.O.T.S.” and “Sofia the First,” as well as on-screen work in “The Good Wife” and the movie “Patsy and Loretta.”] At that time, with two young children and my involvement in animation, it made perfect sense for us to be there. Back then, the industry was centered in L.A. for the work I was doing. However, post-pandemic, the flexibility allows for remote work from anywhere. Still, at the time, being in L.A. felt right for our family.

Performing eight shows a week is among the most challenging jobs in the entertainment industry. I once remarked to a friend, “Eight shows a week are for young people and those who don’t know better.” It’s exhausting and immensely demanding, yet it’s also incredibly rewarding. I always knew that I would eventually hope to return to Broadway, but I understood that it would take something truly special to uproot my entire family from our life in L.A. and adjust to the demands of performing eight shows weekly. My schedule now is completely opposite to my children’s, making it a significant transition for all of us. Yet, this is the show I would do that for.

It’s rumored that many years ago, you identified “Death Becomes Her” as the film you could most envision being adapted into a Broadway musical. Is that true?

Isn’t that wild? It must have been eight or ten years ago. I should actually look up that interview because I was asked, “If you could turn any movie into a musical, what would it be?” My immediate response was “Death Becomes Her,” and I listed numerous reasons why I believed it would make a fantastic musical. The interviewer then shared that they were beginning to develop it, and I thought, “See, I’m not entirely crazy! I can’t wait to see it.” I wouldn’t say I manifested it, but it certainly felt serendipitous.

What was your vision for “Death Becomes Her” as a potential musical?

Ultimately, the storyline is so sensational, with stakes that are abnormally high for ordinary life, that it makes sense for characters to break into song. I believe one of the best indicators that something could successfully transition into a musical is when the emotions are so intense that speaking becomes insufficient; we must sing about it. And I can’t think of anything more dramatic than two women trying to kill each other, yet finding themselves unable to.

In real life, society often emphasizes the importance of women supporting one another, arguing that pitting them against each other only reinforces patriarchal norms. However, there’s something grand about depicting female rivalry in drama or satire, especially when it’s clear that the conflict is not meant to be taken seriously. Highlighting such a battle can serve as a vehicle for female-centered narratives. You’ve remarked in interviews that aside from “Death Becomes Her,” there are rarely many shows on Broadway featuring two leading women with their names above the title.

Indeed, they are quite rare. On the surface, one might perceive this as a story about two women at odds, but if you think deeper, it is truly a love story between them. Stick with me, as it may sound strange, but the opposite of love isn’t hate—it’s indifference. If these two characters were indifferent to each other, there would be no narrative. Early in the musical, just like in the film, Madeline has a choice about whether or not to see Helen… and that decision could conclude the story right there. If she genuinely didn’t care about Helen, she would simply say, “Oh, no, I don’t need to see her.” However, there is an underlying motivation to engage with Helen, which ultimately fulfills Madeline.

There must be some form of admiration between the two characters for the story to resonate; otherwise, it wouldn’t make sense. That’s how I view it as an actress. Otherwise, the ending feels forced, as though they’re just tolerating one another: “Oh well, I suppose we’re stuck together. We just have to deal with it.” But I believe there has always been something deeper between them. If there wasn’t, they wouldn’t even be part of each other’s lives.

For the production to be satisfying, the ending cannot be entirely cynical; perhaps it requires a few more grace notes than the film offered. Without veering into sentimentality—which is a potential pitfall for a show like this—it’s essential to somehow portray these frenemies discovering a way to become friends.

Absolutely. I believe they succeeded beautifully in crafting that aspect within the script.

You mentioned that you drew inspiration from three characters as personal touchstones for developing this role, beyond the film’s characters. One of them was Valerie from “The Comeback.” Can you remind us of the others?

Oh, absolutely. The three characters that significantly influenced my portrayal of Madeline are Valerie Cherish from “The Comeback”; Lucille Bluth, the matriarch from “Arrested Development”; and Miss Piggy. My interpretation of Madeline is hopefully a blend of these three iconic figures while still honoring the incredible legacy that Meryl Streep established for us all those years ago.

“The Comeback” has likely been more influential than it’s often credited for, particularly in addressing themes of aging that resonate in contemporary culture. Reflecting back on the original film, “Death Becomes Her,” it almost feels like it was ahead of its time in exploring subjects that are now prevalent. Whether it’s the universal challenges of aging—or the specific pressures actors face to remain relevant—there are profound themes that audiences can sense, even if they’re not overtly acknowledged amid the humor. Do you hope that this groundedness informs the show without leaving the audience too somber?

Absolutely, humor needs to resonate with some kernel of truth. The clever script and these incredibly insightful songs resonate precisely because they reflect genuine emotions. As you pointed out, it isn’t just women grappling with these dilemmas; we all struggle with the notion of whether our worth diminishes as we age, as society continually suggests. These narratives are resonating for a reason, and I hope we’re flipping that narrative on its head, challenging the notion that our value decreases with age. We do have worth as we grow older, and we shouldn’t accept otherwise. It’s incredibly fulfilling to be part of a production that addresses these significant issues in a humorous yet impactful manner.

Of course, everyone enjoys a well-crafted parody of the vanity often found in show business. Your opening number, “For the Gaze,” is essentially a self-contained meta Broadway show within the larger production—it’s such an extravaganza in itself that it feels like the audience could leave satisfied before the actual show even begins. You clearly relish moments of pure silliness and satire.

Absolutely! I remember when I first received the demo for “Gaze,” I thought, “This is it! Even if nothing else comes from this show, I want to perform this song every night.” It’s such a brilliant piece. With Christopher Gattelli’s creative direction, it has evolved into something bigger, broader, and even more entertaining with each addition. I feel incredibly fortunate to perform it nightly.

Clearly, the abundant physical comedy benefits from various special effects and stunts. Have you had to learn any aspects of magic to pull off these tricks?

I think after this experience, I could officially be considered an illusionist! [Laughs.] Throughout this process, we experimented with numerous illusions, and it was thrilling to test them out, especially in front of the Chicago audience during our pre-Broadway tryout last spring. It truly takes a live audience to understand what works. We discovered that leaning into the campiness of our approach resulted in a more favorable reception.

For instance, the stair fall concept was one of the best ideas from Christopher Gattelli ever. Initially, there was a discussion about employing a professional stunt performer for that moment each night. However, we quickly realized that watching someone genuinely fall down the steps could evoke fear, which would shift the tone from the lightheartedness we aim for in the production. So, we adjusted our approach, and now it works exceptionally well.

Discussing the sheer energy required for the show… You mentioned that you only sit down for three and a half minutes each night during intermission. But since intermission lasts fifteen minutes, you really don’t get to rest for much longer than that?

No, and I have to arrive at least two hours before every performance to roll out my muscles, stretch, and do my vocal warm-ups and steam. From the moment the show starts until we break, I sit for only three and a half minutes during intermission. Since there are two dressers for Madeline, due to the numerous and rapid costume changes, they often joke, “Okay, we have the timer set. It’s three and a half minutes. Enjoy!” I sit there, and I don’t even know what I do.

But it’s fantastic. I wouldn’t want it any other way. This show is so brilliant and brings joy to people at a time when it’s greatly needed. I feel incredibly privileged to be part of it, and I’m willing to be exhausted for as long as they’ll have me.

You started running, something you hadn’t done before, to prepare for this role, correct?

Yes, the physical demands of my on-stage performance are substantial, so I’m essentially running throughout the show. As soon as I exit stage left, I sprint for quick costume changes, and then I rush back for my next entrance. Imagine two and a half hours of constant movement while also having to sing! It became clear during the musical’s development that I needed to build my stamina, and I determined that learning to run was the best way to achieve that. Surprisingly, I now enjoy running, and it has significantly helped me prepare for this role. While I can’t run during the show due to joint protection, it has been incredibly beneficial during rehearsals.

How long did you spend developing that routine before you began performing in the show?

I worked on it gradually over the course of about a year, training with a coach who prepared me as if I were training for a race. I approached my preparation for Chicago as if it were a significant physical challenge, even though performing in the show is a considerable feat in itself. This process has been transformative for me.

How do you feel changed by this experience?

Well, there are numerous aspects, including the fact that our family life has dramatically shifted since we moved from the suburbs of L.A. to the city. My two young children have had to adjust to a new school, make new friends, and spend less time with me. I was very available to them before, but now, as I’ve mentioned, our schedules are quite opposite. They’re at school during the day while I work in the evenings, and they’re home on weekends while I’m often performing. My Sundays and Mondays are fully dedicated to them unless something urgent arises, and then I need to make up for that time. It’s a constant balancing act, and our family dynamic has changed significantly.

However, I’ll reiterate: if I were to take on any show, it would be this one. I am immensely proud to be part of it, and I believe my children will also feel proud of me for being involved in such a significant production. I wouldn’t commit to this if I didn’t genuinely believe it was the best decision for our family.

Originating a role is quite different from the four- or six-month commitments that many prominent actors undertake when they step into existing productions.

Oh, absolutely. With this role, I’m committed for at least a year. It’s a marathon—not to use another running analogy, but it truly is. I’m constantly figuring out how to sustain this over the long term while keeping my body, voice, and mental health in check. It’s an entirely different experience, and I can’t realistically take on anything else while performing in this show.

Everyone enjoys that you’ve humorously claimed Meryl Streep’s credits in the Playbill. It’s one of those moments where you read the “best actress of her generation” descriptor and think something feels slightly off before realizing it’s entirely intentional. The punchline is that you abruptly conclude with “Television credits: Smash.”

Yes, and at the end, I included an Instagram account that I created called @ThisIsTotallyMegansRealBio, featuring photos of Meryl Streep with captions of her iconic lines from various films. I thought, when else would I have the opportunity to do something so playful? The tone of our show invites silliness at every turn. I’ll likely never again play a role that was famously portrayed by the most renowned actress of all time. When you read her credits, they’re so iconic that they can only belong to her. So, I took a big swing with that idea.

She reportedly sent you dead flowers, is that correct?

Yes, I was genuinely taken aback when I received them. She sent me a beautiful, elegant, and humorously appropriate bouquet of dried flowers along with a note. The symbolism is perfect—they’re dried, signifying they are “dead,” yet I will cherish them forever. Her note was lovely, and she is just wonderful.

Now that your family has moved back to New York, can we assume that your plans extend beyond “Death Becomes Her,” and that you’d be open to more Broadway roles after this one concludes?

Absolutely! As long as it aligns with what’s right for me and my family, I would be more than open to pursuing additional opportunities on Broadway.