Decapitated heads, tumbles down staircases, and wide-open stomach wounds.

The onstage wizardry of “Death Becomes Her” is sure to dazzle you. This vibrant new Broadway musical is based on the 1992 cult classic featuring Meryl Streep and Goldie Hawn and is packed with outrageous humor and stunning theatrical tricks.

The narrative centers around two bitter best friends, Madeline (Megan Hilty) and Helen (Jennifer Simard), who consume a mysterious potion from an enigmatic socialite (Michelle Williams) that grants them eternal youth. However, this magical drink comes with troubling side effects: even the slightest bump can cause irreversible damage to their perfect bodies. Consequently, when a feud escalates into a brawl, hilariously grotesque body mishaps unfold.

This movie won an Academy Award for its spectacular visual effects. So, when illusionist Tim Clothier received a request to help adapt “Death Becomes Her” for the New York stage, he felt a mix of excitement and pressure (taking over from Rob Lake, who managed the effects during the show’s Chicago preview last year).

“I was familiar with the film and immediately thought, ‘Wow, there are going to be some really challenging parts to design,’” remarks Clothier, whose resume includes work with Cirque du Soleil and Blue Man Group. “This isn’t a Vegas show where the magic is front and center – here, the illusions need to enhance the story. We had to delve deep into our toolkit. We pulled from classic magician tricks while also inventing groundbreaking techniques nobody has attempted before.”

The mesmerizing staircase scene in ‘Death Becomes Her’

The climactic moment of the show occurs at the end of Act 1. During an intense confrontation between Helen and Ernest (Christopher Sieber), who is the object of their rivalry, Madeline is shoved down a grand staircase in a mansion, resulting in a gruesome spectacle of broken bones and twisted limbs.

This slow-motion descent is one of the most memorable scenes from the film, and director/choreographer Christopher Gattelli (“Newsies”) spent months devising how to recreate it live on stage.

“We literally experimented with everything: puppets, tossing dolls down the stairs, exercise balls with wigs, even considering building a robot,” Gattelli chuckles. “Yet nothing seemed to fit.”

Eventually, he found the solution in actor/dancer Warren Yang, who is an Olympic-level gymnast and serves as the show’s acrobatics captain.

“I stumbled upon a video of Warren on Instagram, casually changing clothes while doing a handstand,” Gattelli shares. “That sparked the idea of integrating a pommel horse routine down the stairs. He jumped on board immediately – ready to experiment.”

Gattelli describes the scene as a “collaborative triumph,” coordinating with lighting designer Justin Townsend (“Moulin Rouge! The Musical”) and costume designer Paul Tazewell (“Wicked”) to craft the illusion that it is Hilty tumbling rather than Yang. This meant recruiting additional dancers with similar talents for backup in case Yang could not perform.

“This is a monumental moment that everyone eagerly anticipates, and I’m thrilled with how it turned out,” Gattelli exclaims. “Warren steals the show each night. There are no safety wires involved – he performs these handstands, cartwheels, and flips entirely unassisted. It’s a breathtaking free fall that continues to astonish me.”

The show features impressive illusions that reflect ‘classic theatrical magic’

Following that, the musical features even more astonishing optical illusions: During a wild encounter with a shovel, Madeline’s head is knocked off with the assistance of stunt doubles.

In addition to other props, there’s a visually deceptive serving cart used in the show. At one point, she shoots Helen, creating a hole in her stomach. Unlike the film, though, the audience can’t actually see through Simard’s body; instead, it releases smoke in the second act.

Clothier coyly remarks, “I can’t disclose the secrets, or I’d have to eliminate you.” He adds that there were numerous variations of this during the production process. The scene where an arrow pierces Helen’s torso draws inspiration from an “iconic magic trick from the 1890s. We needed to creatively depict the experience of having a hole in someone’s stomach, and that was one of the solutions.”

Gattelli mentions that Madeline’s head spinning a full 360 degrees is also a classic example of theatrical trickery. “If you really pay attention, it’s not very difficult to figure out how it’s done. However, if the audience is enjoying the spectacle, it’s perfectly fine to catch a glimpse of the behind-the-scenes magic. It’s live in front of you, and it’s fulfilling to see the audience enjoy it as much as they do.”

Gattelli emphasizes that executing these illusions requires the effort of “dozens of people” for each of the eight performances weekly. An hour before each show, cast and crew prepare behind the scenes, rehearsing all the stunts to ensure they are performed safely.

“Nobody takes anything lightly,” says Gattelli. “This preparation allows everyone to perform with confidence, enabling them to loosen up and deliver hilarious performances – which is always our objective.”

“Death Becomes Her” is currently showing at the Lunt-Fontanne Theatre (205 W 46th St.).