How far would you go to retain your youth? Theater and film are replete with tales of women attempting to stay young. If the woman is Maddy Ashton, an egotistical narcissistic performer, one of the two main characters in the new musical “Death Becomes Her,” she’ll risk it all.

It took years before the 1992 Robert Zemekis cult movie “Death Becomes Her” starring Meryl Streep and Goldie Hawn was adapted for the stage and it was well worth the wait. In a campy, sparkly adaptation, Megan Hilty plays Madeline, the preening self-absorbed performer and Jennifer Simard plays her ‘best’ friend Helen Sharp, always living in her shadow. This story of frenemies begins when Helen finally has a chance to best Madeline and brings her fiance, the stodgy Ernest Menville, a plastic surgeon with only altruistic motives, to meet her. In the next scene, Maddy is marrying Ernest and already we get a preview of their marriage when she has an opera singer perform his vows.

Maddy’s egotism and her vanity are astounding and is a great source of humor. Looking lovely and gifted with an enormous singing range, Megan Hilty plays the diva to the hilt. Everything is ‘me, me me” which works until years pass and things begin to sag and wrinkle. The audience next sees Maddy ten years later and she’s the ‘before’ in the infomercial. What’s a diva to do?

Desperate, Maddy goes to Viola Van Horn, a mysterious, stunning woman with special potions designed to keep someone young. There are conditions but Maddy is prepared to take the risks. Played by Michelle Williams of Destiny’s Child with impressive vocal talents, Van Horn is alluring and mystical. Wearing slinky form- fitting gowns, she is beguiling and surrounded by an ensemble of ‘immortals” who are stunning to watch (Costume design by Paul Tazewell.)

As Maddy’s frenemy, Jennifer Simmard, a terrific comedian, brings over-the- top hilarity to Helen. After she loses Ernest, Helen has a breakdown and the scene in the institution gives Simmard a chance to flex her comic muscles. It’s obvious why she has received numerous theater awards and nominations.

At the same time that Maddy is in decline, Helen reappears. She is now a successful writer, but more importantly, she is gorgeous, arousing Maddy’s jealousy.

As the one stuck in the love triangle, the talented Christopher Sieber plays Ernest and fortunately is able to hold his own. He performs a terrific solo number when he must decide whether to help the two women. ( Catchy music & lyrics by Broadway newcomers Julia Mattison and Noel Carey)

It turns out that Helen, unbeknownst to Maddy, had already drunk the potion. So neither one can age or die. The two fight in an outrageous scene involving a gun and a staircase. Neither can die can’t die, but that doesn't mean they can’t sustain grotesque injuries that would be difficult to explain. So they coerce Ernest into helping them. Realizing that they will need Ernest, they scheme to get him to drink the potion as well. .

Director-choreographer Christopher Gatellie brings out the talents of his performers, allowing both women to shine and play off one another. Even the ensemble sparkles. Josh Lamon has a small role as Stefan, Madeline’s assistant, and milks his part and short song for all it’s worth. Taurean Everett as Viola’s assistant adds to the uneasiness of Van Horn’s enterprise.

Sometimes bigger is better. Derek McLane’s excessive settings and Paul Tazewell’s fabulous costumes add to the spectacle. The book by Marco Pennette (TV’s “Caroline in the City,” “Ugly Betty”) is funny and clever.

This musical lets you get slightly high without the calories of alcohol. It’s absurd and silly and so much fun. “Death Becomes Hers” is the latest film to be adapted for the Broadway stage and may be the hit of the season.