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[0:00] Jeff Malone: Welcome to Half Hour with Jeff & Richie, the podcast where we explore the latest shows we see, sharing our insights and opinions on the storylines and everything in between.

[0:09] Richie Grasso: In today's episode, we're discussing the new Broadway musical DEATH BECOMES HER, currently playing at the Lunt-Fontanne Theatre in New York City. Whether you cannot catch the show in person or you want to expand your thoughts after seeing it, this episode is for you.

[0:21] Jeff Malone: And as always, we want to inform you that this episode will contain spoilers, so if you're ready to dive into this production, stick around with us. I'm Jeff.

[0:28] Richie Grasso: And I'm Richie, and we're thrilled to be your hosts for today's episode. But before we start the conversation about DEATH BECOMES HER, here are a few words from our advertisers.

[0:40] Jeff Malone: Welcome, everyone, to a new episode of Half Hour with Jeff & Richie. Today, we're discussing the Broadway production of DEATH BECOMES HER.

[0:49] Richie Grasso: Madeline Ashton is the most beautiful actress, just ask her, ever to grace the stage and screen. Helen Sharp is the long-suffering author, just ask her, who lives in her shadow. They have always been the best of frenemies, until Madeline steals Helen's fiancé away. As Helen plots revenge and Madeline clings to her rapidly fading star, the world is suddenly turned upside down by Viola Van Horn, a mysterious woman with a secret that's to die for. After one sip of Viola's magical potion, Madeline and Helen begin a new era of life and death, with their youth and beauty restored and a grudge to last eternity. So, in today's episode, we're discussing the new Broadway musical DEATH BECOMES HER, and we're going to hit you with our hot takes. So, you first, Richard. All right.

[1:37] Richie Grasso: I think DEATH BECOMES HER is so funny. There's some great things happening here. I don't think it's perfect. There's a couple moments for me, but majority-wise speaking, this is a fun night out at the theater. You're going to laugh a lot. You're going to enjoy the spectacle of this piece, and everybody on stage is working really hard. I really enjoyed it, for the most part.

[1:58] Jeff Malone: Yeah, I think my hot take on this is that it's such a fun, campy show, and it pays homage to the film while carving out its own identity. I really am going to praise Jennifer Simard and Megan Hilty with their comedy and just their perfect moments in these roles, bringing a real fresh energy to these characters.

[2:21] Richie Grasso: Totally. So, let's dive in. So, when we talk about our overall concept and plot here, this is based off a very famous early 90s film, which a lot of millennials have seen, a lot of people have seen in general. It's very, very iconic. It's kind of a little bit of a cult following, in a way, because you had even Meryl Streep and Goldie Hawn famously starring in this, and I think it was at the time of the late 80s, early 90s, when everyone had beauty infatuation for a long time. At that time, people were infatuated with staying thin and plastic surgery and skincare treatments, and people are still infatuated with that, even in different ways now. So, I think this kind of stays relevant even today.

I think that what you said earlier, Jeff, is so vital that it is camp, and the piece, the play, plays into the camp, and it doesn't try to be something that it's not. What I appreciated is it didn't take it too seriously. It wasn't too long. It wasn't trying to beat us over the head with a message. It was understanding that it was camp, and it knew that all the way to the very end, and I think that's what worked the best in this film-to-stage adaptation.

[3:31] Jeff Malone: I totally agree. When they took this concept here, this musical is really following the film's storyline, but I do think that they were able to kind of add character development into the storyline for each of the characters. I feel like we don't always get that in the film. We kind of just always think they hate each other, and this one, they've really added more depth to them, where you can actually kind of understand why they don't like each other. So, it's fun. It's a musical, though, so when we're adding music in here, it's going to change the pacing, it's going to either make it quicker or slower, and enhance the story. I feel like the big question here, though, is do you feel like the music that they're adding in this story really elevates the plot overall?

[4:16] Richie Grasso: That was one of the weaker points for me, was the music. I feel like, at times, there were some aha, great musical moments, and then there were times where the music seemed a little forced, and so, in general, for me, it was inconsistent. That is one of the weaker points of this piece, for me, is the score, because there were a few moments that the Do It For The Gays song was very, very good, right? The duet that they sing forever at the end, the two of them, really, really great vocal moment. If You Want Perfection, the opening number, really great moment, but then there seemed to be filler, but, of course, this is a musical, so you're going to have songs every five or ten minutes, but I feel like the songs were not quite at the level that I would have wanted them at, but it was fine. I've heard much worse scores, you know what I'm saying?

[5:01] Jeff Malone: Yeah, I think when it comes to the score, though, I would put this in more of the pop category, right, of a Broadway, you know, it's more contemporary. I think that the show starts out on a high when it comes to music, and it is enhancing the plot, it's explaining the potion, it's important to the piece, and then bringing in more of the campy songs, like For The Gays, you know, you're on a very high level when you start with those two songs, and I think where their score kind of, and the lyrics of it kind of got mixed up, was more in between anything that they were kind of doing together, Megan and Jennifer, you kind of lost of, like, what was actually being said. It's almost like one of those things you're going to want to listen to this soundtrack more, and actually hear what they're saying, but, you know, it's interesting.

[6:02] Richie Grasso: Yeah, I think also for concept here, though, they brought in more modern references to social media today, beauty standards today, which I think was important. It didn't really make you feel like this was set in the 80s or, you know, even the 70s or anything like that, so I feel like they brought that in, and it was, I think, important to bring that there so that they stay relevant to what's actually being happening on the stage. And the question I'll ask you is, you know, we've been seeing a few shows lately where, like, I don't think the audience wants this right now. I don't think Broadway's asking for this right now. The question for you is, does the Broadway community and do audiences like this and want this right now?

[7:03] Jeff Malone: One thousand percent. Totally. I agree.

[7:05] Richie Grasso: One thousand percent. I think this is wanted right now. That theater was packed. It's perfect. And, you know, what's interesting here is, and this is a question for you, too, because I think they were able to take the dark comedy of this and really bring it to the stage. And I find kind of like what we're seeing right now in terms of comedy, you know, when you have how successful O'Mary is, when you have how successful Titanic is, and now we're seeing Death Becomes Her. It's and even like Teeth, you know, these dark comedies that are campy in so many ways that it's really working. And I feel like people are really starting to understand the camp side of things and not just labeling everything camp.

But there are campy elements to all four of those titles that I just said. And in Death Becomes Her, the special effects were camp as well. We weren't looking at the special effects and saying, oh, gosh, they're trying too hard here. They're trying to do every single month. They do the moments from the film or some of them, and they do them with the camp element, the hole in the stomach, the falling down the stairs. That was so well done by that stunt double who was doing that. It was just realizing we're in theater and a choreographer, we'll talk about this, clearly directed this as well because it made sense to have a choreographed fall. And it was one of the smarter moments of the show. And versus trying to like flashlights and do projections and like make it look like she didn't fall and all this.

But not to mention there's these elements of, well, the camp elements in general are all scattered throughout this and it works really, really well. I think we have that strong. But they knew that they needed to keep that and they knew that they needed to master that because that's what I think made this successful. And one of the major plot changes in here from the film to the stage was the ending. I know you were talking about this as well, but the ending is different in the film. They went with the ending for the musical on what the film was originally supposed to be, correct?

[9:03] Jeff Malone: Right, which I had read was this like sentimental. They see Ernest later and he's elderly living a life with a woman and they kind of say, oh, that's sad. And I wish we had that kind of and then they didn't want to end the film like that. They wanted to end the film on this like really camp, like the heads rolling off the stairs kind of thing. So this was different, which is fine because there needed to be a little bit of sentimentality and heart in a stage musical. We add to feel for these characters a little bit.

[9:31] Richie Grasso: Well, of course, I think the musical part of it leads it to the, oh, what actually happens to them. The film keeps it with the, they fall down the stairs and they break and all their body parts everywhere. And like, you're like, what happens to them? Because Ernest isn't there. Not to mention this really pushed the envelope on sexual innuendo. I found that there was a lot of that and it works. The audience is eating it up. Like you said with Oh Mary, I feel anti-Titanic. There is sexual innuendo that is added to these comedies lately that is pushing the envelope because I don't know how much could have been done in the mainstream film of this, right? When you bring this to the stage, you realize where you are. People are in an atmosphere where they're drinking and they're talking and they're laughing and it can be more adult humor. And that's part of this, right? So I think that totally works in some of the way they deliver it.

[10:21] Jeff Malone: I totally want to get onto this design team and these actor performances and direction.

[10:33] Richie Grasso: Okay, and we're back. So, Chris Gatelli directs and choreographs this. He's a Tony Award winner for *Newsies*. He's also done *Schmigadoon*. He's done a lot of work. I think it made complete sense. See, this is what we're talking about, Jeff. We just saw a musical lately, and I'm not going to name the name of the musical, where there were three directors billed. And we said, I don't know who was directing this because it's all over the place. To me, sometimes I don't always agree with the director and the choreographer being the same person. For this show, it totally made sense because you have physical comedy, and you have choreography, where I do think at times the ensemble was a bit forced in terms of where do we put ensemble in this show.

When they were on stage in those ensemble moments, like the musical number, "Do It For The Gaze," like the "If You Want Perfection" moments in the bodysuits, which we'll talk about those stunning costumes in a second, it made sense that you had a visionary choreographer and director. And he has proven himself as a director because, I'm sorry, these scene changes are amazing. The way we are flowing from scene to scene, the way we are choreographing these bodies on stage, Chris Gatelli should be nominated for this because I do think that it was directed and choreographed very, very well. He could take what he did in Chicago and do it here, Chicago meaning the city Chicago, where this is out of town, and coming here. He's a very, very smart theater craftsman, and I think that the direction and choreography of this were very smart.

[12:02] Jeff Malone: I feel that there was not a ton of actual choreography happening in many of the scenes, so that he's actually directing or choreographing the other scenes. It's fine. Sometimes you do need that eye on the stage, and I do think he is capturing that in what we needed with this show. We don't necessarily need seven-minute dance breaks for this show, but they were moved in a way that the bodies were moved on stage and that the scenes were transitioned well. Everything flowed. We were in many different locales on this stage many different times pretty quickly, and I thought that was really nice. It tightened the show up a lot, which leads me into some of the design, because we'll talk about actors in a second.

I find this set design to be what Broadway is looking for. Like *The Great Gatsby*, we're seeing elevated scenic design mixed with projection where it works. I've said this so many times this last few months. We're mixing projection with scenic design smartly. Thank you for mixing literal physical locale scenery with projection in a really flawless, effortless way. It works very, very well, and the design is impeccable. I do feel like Derek McLean really was able to say, okay, this is what it needs to be. It needed to have that grand staircase. It needed to have the mirror effect that was created in those pieces. It needed to look rich. The set needed to look rich, and it did. That's the whole point.

They're in this palace-esque place, and it needed to look like that. Using the mirror effect and using the projections and weaving in the actors into this whole set, it worked really well, which then leads into this beautiful costume design.

[14:00] Richie Grasso: Stunning Paul Tiswell costumes. He has done incredible work. We've known, we've seen his work in so many shows. These costumes are stunning. I think one of the facts that we had looked up was that Megan Hilty has 50 costume changes in this show. It is incredible what these women look like in these gowns, but the bodysuits on these ensembles and when you have 100-year-old people who live forever who are supposed to look young and youthful, and they're on the ensemble behind Michelle Williams' go, there's Paul like, wait, I'm not going to put them in clunky things. They're going to be in skin-tight bodysuits, and they're going to show off their bodies. It makes complete sense, and it's done so tastefully.

And those bodysuits are painted onto them. I'm like, hello. How easy would it have been to just put them in bathing suits, right? Put them in robes, put them in simple things. No, it would make complete sense. And even when they do it for the gays, or when the men are in those different, the women are in the boa looks, and the men are in the tuxedo looks, and we have that vintage vaudevillian moment. Just all of the costumes here. I will also say Michelle Williams' opening costume, that huge collar piece is stunning. This needs Tony nominations for all the design, including the lighting design by Justin Townsend, the sound design by Peter Helensky. We have illusions by Tim Clothier, just makeup design by Joe Deleuze II, hair and wig design, Charles Lapointe. All these people working so hard on these designs. It just all was a well-oiled machine. Very, very, very well done design. I was blown away by the design elements of this.

[15:35] Jeff Malone: But also vibrant. You know, the colour that was used for all of the set pieces, for all of the costume design, was popping. It was pretty. It was that colour that you want to see. Especially if you have a song that's for the gays, make it for the gays, and they made it for the gays. Yeah, yeah. And there's this purple theme throughout the whole piece with the posters, with the act curtain, with the lighting, with the design. It just works well. It's nice to kind of see shows themed around a colour. Not every show needs to be like that by any means. But when you have this piece that's like a little Halloween spooky-esque mixed with a show, you know, just the purple just totally worked for me.

I thought that was really, really smart. When we go into some actor performances here, let's go here. Megan Hilty and Jennifer Simard seem neck and neck throughout this whole piece. They're vying for the lead, and they're both the lead, but one of them is trying to be. And obviously, that's the plot too, right? But to me, Jennifer Simard is brilliant. She's singing it so well. Her comedy's there. It seems to me like they gave just a tiny bit more to Megan Hilty, and that we get just a little bit more out of Megan in this piece. And Megan stands out just a little bit more for me over Jennifer. But I think Jennifer's so, so good in what she's doing. But it's nice to see her back, where she's comfortable on stage. And she is really working at this show. Both these women carry the whole show.

[17:07] Richie Grasso: Yeah, I find when it's the two characters of Helen and Madeline, Madeline's always kind of been there more. It's the Meryl Streep character, it's the moment that you always remember, the falling down the stairs, and that true moment of being like, oh, these women can't die anymore. We'll get into the Tony talk, but I think Megan is really capturing and making the role of Madeline her own. And where Jennifer, I think, is bringing something to Helen that she's kind of gone all out for this role. She's pushed up in that corset. She is popping out of that dress. I'm like, okay, Helen, Jennifer, go for this role. And I like that she brings in that moment of you forget that she takes the potion first. And you meet her again, and she's this beautiful, voluptuous star that's like, Helen's now the washed-up thing. And I feel like that's where they kind of get their comedy so perfect with each other, with Megan and Jennifer.

[18:23] Jeff Malone: Totally, totally. I think Chris Sieber's very well cast in this show. He does great stuff when he's on stage. It's a hard role, because you're kind of playing this leading man amongst these women who are trying to steal the show. He's great. I wasn't obsessed with his song, that Music Man-esque style song in the basement.

[18:39] Richie Grasso: Which is so shocking, because you love the Music Man.

[18:44] Jeff Malone: Yeah, but I was like, you know what? Yeah, I like the Music Man. It seemed a little forced, his song. But it was fine. He played it up nice when all the things were moving in the set. That was kind of cool, the puppets. And then let's go to Michelle Williams. Michelle Williams has done a lot of Broadway. We know she's Destiny's Child.

[19:05] Richie Grasso: She's part of Destiny's Child.

[19:09] Jeff Malone: Beyonce's Children. She sings this pretty well. I'm not quite sure the acting is there. It's an interestingly developed role, because she's almost like a narrator of sorts, but she comes in and out. She kind of needs to just park and bark and stand and sing, and then she's off stage for 25 more minutes, and then she's on stage again. It's an interesting role. It seems like a role that they're going to use as stunt casting when Michelle leaves the show, because it's not a major commitment, like any role in *Chicago* when they stunt cast, and it's not like you're on stage the whole time. So this will probably be stunt cast after. She was a weaker moment for me in this show. She was fine. I didn't think she stood out nearly compared to the other three leads in the show.

I think everyone's kind of forgetting, with this role, who Viola is. It's a very small part in the film. They go, they take the potion, and then that's kind of it after that. So here, they're trying to make the character, I think, bigger than it actually is, which is fine, because I do think she has a great song. But from acting, I just wonder if she's going for more of that stoic, like, oh, I'm very this kind of look. But that's not coming across on the stage, because everything else is so over the top that you almost need to be more of like a Uma Thurman in the role that's really giving the acting portion of it, but then the belt. You know what I mean? Think *Producers*. It was missing a little bit of the comedy as well.

[20:49] Jeff Malone: Yeah, it kind of brought the energy down a little bit.

[20:52] Richie Grasso: I know she's had to really kind of adjust her vocal style for Broadway comes from singing pop to this. You know, as Nicole Scherzinger is doing that right now, there's plenty of Ariana Grande's had to do that in the Wicked film. Like there's plenty of pop singers now that are getting the vocal quality different for their voice.

[21:08] Jeff Malone: Yeah, well with Michelle too. It's also a different kind of belt. You know, she also goes down the gospel train after the Destiny's Child pop world. So to kind of change that switch into being more of like a legit belt. You know, it's okay.

[21:31] Richie Grasso: I will also say Josh Lehman was really funny. Torian Everett was wonderful. I mean, their supporting roles are really great. Everyone across the board did some really, really nice stuff here. The ensemble's working, especially in those bodies, if they have a lot of costume changes to really, really great stuff with that. And like I said, I think this was well crafted and put together. I like I said, I do think the book was great. The comedy of the book was nice. Those scenes were tight. The score just didn't seem to really do it for me in the way that I wanted it other than a few iconically fun songs. But that's okay. Not everything needs to be perfect, right?

[22:07] Jeff Malone: Yeah. So I do want to move on to some Tony talk. We got to talk about and our own experience. So let's head over there. But before we do that, let's listen to a few words from our advertisers.

[22:19] Jeff Malone: Okay. Okay. So Tony talk first, where do you think this is landing amongst Tony nominations and potential Tony winners, Jeff?

[22:23] Richie Grasso: I definitely think right now it's positioned really well for a Best New Musical nomination. Probably with what we have seen, it could take it.

[22:31] Jeff Malone: Oh, no, no, just kidding. I still think just kidding. Maybe Happy Ending is still my pick for Best New Musical. I really liked Swept Away as well.

[22:46] Richie Grasso: This, you know, what's interesting with Death Becomes Her is it might have a Mean Girls moment, it might be the most nominated musical of this season, and we could get nothing. Just because it is that movie to stage adaptation that sometimes does not, it gets overlooked at the Tony Awards.

[23:06] Jeff Malone: But, you know, it will. Yeah, I design, it'll definitely get design nominations and it could even win some design. I wonder, you have three women in the show. It seems like the producers would submit Megan and Jennifer for leading and Michelle for supporting and then Chris could be leading or supporting. I don't know how they want to submit them.

[23:31] Richie Grasso: Either way, you're going to have these two women up. This is a very stacked year for leading women in musical and usually there's only five or six women in that category for Megan and Jennifer to both be in. That fills two slots when you know that Nicole Scherzinger is probably taking a slot, you know, Audra McDonald's probably taking a slot and you know, maybe Idina Menzel is probably taking a slot along with possibly Adrian Warren possibly taking a slide, right? There's I forget the name of the actress playing Betty Boop. Jasmine. I forgot her last name, but Jasmine.

[24:03] Jeff Malone: So there's a lot going on here. I don't know. It'll be tough. I think Megan and Jennifer could totally be both be nominated, but it'll be interesting.

[24:13] Richie Grasso: They definitely could. I think if I was going to, if you had to pick one and if I was going to pick one, I probably would go with Megan.

[24:20] Jeff Malone: Getting a nomination over Jennifer.

[24:26] Richie Grasso: No, like it like let's say they had to win the Tony or they were going to win the Tony. I probably would give it to Megan. Maybe. I mean, I don't because of this tax season, I'm not sure if either of them would win. I'm just saying if it came down to those two.

[24:34] Jeff Malone: Yeah, I think Megan is just I'm waiting for Jennifer to win her Tony Award. She's so deserving of it and she's so wonderful. But Megan, Megan is also waiting for her Tony Award too. And this could be it for her. And I think they both have been nominated a bunch, so it could totally be for sure.

[24:49] Richie Grasso: Jennifer Simard in Disaster was my pick for her to win her Tony for that because that was just next level. So this, you know, it's interesting. We'll see what happens when it comes down to the Tony Awards because there's still so much coming in the spring that we probably don't even know about yet.

[25:06] Jeff Malone: Totally. So I will say when we talk about our experiences at the show here, this is already becoming very tourist trap. There's already a lot of what seems like out-of-towners in the theater. I'm just going to do my gentle reminder here to all our listeners that you have to unwrap your candies before your show. You have to stop eating in the middle of the show if it's crinkly. If you have ice in your cup and you're shaking your cup of ice to get the last bit of drink out, please stop doing that.

[25:39] Richie Grasso: If you're sitting and you know there's a bunch of people behind you, please stop shifting back and forth your head forward and back, left and right. I mean, there's a lot of things that we're just completely forgetting about here as theater etiquette. And I really, really hope that we can start remembering some of this stuff because it is just borderline disrespectful.

[25:58] Jeff Malone: And I understand that people have things going on in their personal bubbles of their seat, but we have to just kind of check that a little bit. We got to realize that the mezzanine is over $100. So if the mezzanine, it's not like, oh, well, if you pay $30, you can expect that. I don't think that's the way we should be approaching this either. But when the upstairs and rear mezzanine is $100, you have to just be aware of your surroundings here.

[26:21] Richie Grasso: We get an intermission, right? You're not sitting straight for three hours. So we have to just be, I understand we have bulky coat season now and people don't know where to put their coat and I get it, right? We're packed in there like sardines, but just be mindful and aware of your surroundings. I would think you would agree with this as well.

[26:37] Jeff Malone: I do agree with it. I actually just think it's funny because I find that everyone has their own experience at a theater, but everyone kind of forgets that there are other people at the theater experiencing something too. So if you are opening a bag of chips and eating that whole bag of chips during a full performance, it doesn't make sense to me. You cannot be that hungry during a show.

[27:04] Richie Grasso: This is not a movie theater. Even in a movie theater, it drives me crazy. Why are you eating a whole meal at a movie or a show? It just doesn't make sense to me. This is not a dining experience.

[27:19] Jeff Malone: And it's tough because we have to keep reminding younger audiences and older audiences. It has nothing to do with age. We have to remind everyone where we are. And listen, Jeff, you've seen me before. I have no problem respectfully turning to someone and saying, could you please keep it down? I'm respectful with it, but I have no problem saying it because we have to fix it. This is not going to work. I've said this before on this podcast. The longevity of this industry will suffer if we're going to keep just being okay with the behavior like this.

[27:52] Richie Grasso: It does take you out of the piece when you're spending all this time and money trying to immerse yourself in the piece.

[28:01] Jeff Malone: Yeah, totally. I have two final questions for you before we get to the end of this. First question, what do you feel like was the most wow moment to you in Death Becomes Her?

[28:08] Richie Grasso: Oh my gosh, wow moment. I really did think that for the Gaze song was like, oh my gosh, wow, they're pulling all the stops out. And I really did think that some of the special effects at the end of Act One, falling down the stairs, the head twisting, the hole in the stomach, all of those, or maybe that was the beginning of Act Two. Those are some wow moments for me.

[28:26] Jeff Malone: Yeah, not to give it away, but I do think that I was not sure how they were going to master the special effects in this show, and I think they really nailed those special effects. So highly recommend the show for that alone.

[28:39] Richie Grasso: Okay, and final question here, if you could drink the potion for eternal youth, like in the show, would you do it?

[28:46] Jeff Malone: Oh my gosh. I mean, clearly the show is trying to tell you that you shouldn't, because it clearly has some major repercussions. So I guess I wouldn't, only because there was something charming about seeing Chris Sieber and his wife live this elder life, and I was like, oh, I don't know. I mean, it's tempting, though. I mean, I don't know. What would you do?

[29:17] Richie Grasso: You would. You would drink that.

[29:23] Jeff Malone: I totally would drink it. Whatever. Why not? You have one life to live, and if you get to live it forever, I guess live it, right? But then you get to disappear in a mansion with Michelle Williams for the rest of your life after the ten years of the potion, so that's kind of cool too, if you look like those people.

[29:35] Richie Grasso: Exactly. I wouldn't mind it. Which, going back to what you were saying earlier, another wow factor was just the ensemble and the way they're just moving their bodies like that in those bodysuits. It's pretty fascinating stuff. Fascinating stuff.

[29:46] Jeff Malone: Well, those were good questions. That was a lot of fun. And we are out of time here, so final thoughts on Death Becomes Her on Broadway, Jeff, go.

[29:54] Jeff Malone: I was pleasantly surprised by this piece. I didn't know what to expect. There was a lot of hype around this and rumors around this that it's the best thing, and it's fun. I'm going to give it that. It's a fun time. It's great entertainment, and if that's what you're looking for, go check it out. Totally fun. You're going to laugh. You're going to have a good time. Go with some friends. Go with family. Go have a great night out. Enjoy these performances. Live in the moment of it, and yes, we're being critical of some of the other pieces that didn't quite hit it for us, but overall, this is going to run a long time. This is already financially successful. I liked being able to see the movie first to see how that translated.

Some people don't like to do that, but I think a lot of people have seen this movie, so go check it out if you can. I think it was great. I know those tickets are expensive, so save up. Ask Santa for Christmas, whatever you got to do to get those tickets. Broadway is pricey right now. I get it.

[30:49] Richie Grasso: That does wrap up our discussion of the episode. We hope you enjoyed our deep dive into Death Becomes Her. We will share the link with ticket information in our description here. Remember, we want to hear from you. Continue the conversation with us on Instagram at HalfHourPodcast, and let us know your thoughts on Death Becomes Her. If you enjoyed our show, please leave us a review. Your feedback helps us bring more theatre to you. Remember, you can listen to past episodes and stay tuned for the many upcoming ones as well. Until next time, I'm Jeff.

[31:11] Richie Grasso: I'm Richie, saying ta-ta for now. Bye.