![]() ![]() It also illustrates, with the insouciant wink of greater hindsight, that while the materialistic fetishes may have evolved, the soulless ethos that feeds them remains the same. But the show is a very sharp, distinctly theatrical treatment of its source material, in many ways improving on Mary Harron’s movie version from 2000. (Who could resist a number that rhymes “charred mahi-mahi” with “Isaac Mizrahi?”) And the more reflective turn in the second act doesn’t have quite the same seductive stiletto-blade wit as the first, which bookends its celebration of unapologetic shallowness with gory splatter kills. The songs of narcissism, label-whoring, contemptuous greed and status-seeking one-upmanship are just as often lists as mini-narratives, even if they’re fun and catchy. ![]()
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