After three decades of scene-stealing performances and two Tony Award nominations, Jennifer Simard is exactly where she belongs: above the title in the smash-hit Broadway musical Death Becomes Her. As Helen Sharp, a wallflower author-turned–femme fatale (with the help of a mysterious magic potion), Simard wins the audience’s love with a combination of gorgeous singing and incomparable comic acting. Who else, after all, could step into the stilettos of a role created on screen by Goldie Hawn, get a Tony nod for playing a nun with a gambling problem (in the comic musical Disaster!), and crush it as the evil stepmother in a Britney Spears fairy-tale musical (Once Upon a One More Time, in which she belted “Toxic”)? In real life, Simard is warm and modest, which makes her transformation into the ultimate stage diva that much more powerful. Five months into her run at Broadway’s Lunt-Fontanne Theatre, she reflected on her breakthrough star turn.
How does it feel to be headlining a huge hit Broadway musical?
It’s a thrill! This is my first time above the title, and it’s a responsibility I take seriously. On Broadway, I’ve primarily done featured roles, but I feel like my Off-Broadway experience prepared me for this. I remember being in Forbidden Broadway, where every number is an 11 o’clock number, and I would have six of them. I think I sing 10 shows in this show, so the revues I did were good preparation. I’m filled with gratitude and humility that Universal [Theatrical Group] cast me in this iconic role. I’ve worked my whole career to get here.
I’m sure it’s also a thrill to be called “simply brilliant” by The New York Times. Did you savor the show’s great reviews?
At the beginning, I didn’t read the reviews because I didn’t want them to affect my performance. But people were telling me what they said, so I thought, “OK, I’ll read them,” and for Jesse Green of the paper-of-record to say that about me was pinch-me stuff.
Helen Sharp is such a rich character. What do you love about her?
I love what a distinct transformation she makes from this humble, meek, crossword puzzle–doing lady into this vamp. She has so many colors, and I love trying to bring honesty and truth to all of them, whether it’s the subtle stuff, the more serious stuff, or even the broad stuff where she’s a bit off her rocker. She reminds me of different roles I’ve had the privilege to play, so it feels a little like This Is Your Life, and I treasure that.
Let’s give some credit for your glam transformation to costume designer Paul Tazewell, who just won an Oscar for Wicked.
Isn’t that cool? From now on, he has four names: Oscar Winner Paul Tazewell. My red dress in the show, what we call my “hero dress,” is stunning. On a personal note, let me say that Paul is so calm and collaborative and wonderful to work with. He always wants the ladies he is dressing to look like a million bucks and feel great about themselves.
Beyond the comedy, what themes in the show appeal to you?
There are almost too many to name, but I love how in Act Two, after the women get out their frustrations, the show becomes like a buddy flick [starring Helen and her onetime frenemy Madeline Ashton, played by Megan Hilty]. That’s [a storyline] typically charged to men in our society, but in this show, it is charged to women. In a world where women are so often pitted against one another, it’s such a powerful message of bonding. Being independent is just fine; you can choose your family; love and friendship can bind you for life. Everyone wants to find their person, and you might be surprised to find out who that is.
You’ve been a theatrical secret weapon since the 1990s, when you wowed critics in the Off-Broadway musical I Love You, You’re Perfect, Now Change. What have been your most memorable experiences on stage
Well, I Love You, You’re Perfect, Now Change will always have a soft spot in my heart because I did it for so long. I made lifelong friends, like Danny Burstein, and it helped support me for years so I could stay in New York City. The next most significant thing was playing the nun in Disaster!, because that show changed everything for me. I then have to jump to Death Becomes Her, which represents the next level I have achieved. I’m so proud to be among the many women who are leading ladies across the Theatre District this season.
Speaking of Disaster!, how meaningful was it to get a Tony nomination for that hilarious performance, and a second nomination six years later as perpetual dieter Sarah in Company?
Both were meaningful in completely different ways. With Disaster!, you never forget your first nomination; it’s a milestone in any performer’s career. Company was special because it was our pandemic show. We were on hiatus for a year and a half, and none of us knew if theater was ever going to come back. So, to not only come back but to be honored alongside my featured actress costar Patti LuPone was really icing on the cake.
Where did you get your gift for comedy?
My mother was a very funny woman, and I make no apologies for how much I love television and film. The work that Penny Marshall and Cindy Williams did on Laverne & Shirley was my training ground and, years later, Laurie Metcalf, who is now a friend, on Roseanne. And of course, I loved Madeline Kahn in all her films. When I was young, the beautiful Palace Theatre in Manchester, New Hampshire, built in 1915, was a place I could go to and learn from watching. I would tell any young comedienne that experience teaches you to take your foot off the gas and let the audience come to you rather than push. As [director] Jerry Zaks says, just plant your feet, look the other guy in the eye, and tell the truth.
Well, you make a great comedic performance look easy.
Thank you for saying that, because comedy — whether it’s musical comedy or a play with comedy — is extremely difficult to do well. It’s a science that is so delicate. If one tiny thing goes wrong, or someone steps on a line, or there’s a sound in the audience, the joke can be gone. I’ve said for years that comedy needs to get more respect.
I hope you are savoring these moments with Broadway theatergoers at Death Becomes Her.
I feel so lucky and blessed to be on this ride. The audiences go nuts and leap to their feet at the end, and I love taking them on this journey. From the box seats to the last row of the upper balcony, we’re so appreciative of every single person who chooses to come see us, and who fill the Lunt-Fontanne Theatre with their laughter.