It is based both on Lindy Woodhead's 2004 book War Paint and on the 2007 documentary film The Powder & the Glory by Ann Carol Grossman and Arnie Reisman.

"[2] On November 12, 2015 the Goodman Theatre in Chicago announced its hosting of the world premiere of War Paint which under the direction of Michael Greif previewed from June 28, 2016 prior to its official July 18-August 21, 2016 run.

[3][4] Composer Scott Frankel, lyricist Michael Korie, and bookwriter Doug Wright had previously worked together on the 2006 Broadway musical Grey Gardens.

On October 13, 2016 it was announced that War Paint would be produced on Broadway playing at the Nederlander Theatre in previews from March 7, 2017 and officially opening April 6.

[12] Source: Internet Broadway Database[13] In 1935 Manhattan, several society women fret over the beauty ideals imposed on them by an unforgiving culture ("Best Face Forward").

Meanwhile, Helena arrives in Manhattan with her marketing director Harry Fleming and tells him that, while she's never met Elizabeth in person, she still plans to undo her ("Back on Top").

When Helena extols her latest face cream, an unfazed Elizabeth reassures Tommy that her iconic pink packaging will always trump pseudo-science.

Meanwhile, after being approached by Tommy about a job, Helena suggests they work together to destroy Elizabeth's reputation by telling the FDA her skin cream doubles as horse salve ("Oh, That's Rich").

As dismayed society ladies across Manhattan read the obligatory labels on Arden and Rubinstein products ("Inside of the Jar"), both women discover that war has broken out in Europe.

She overhears Elizabeth being rejected by the elite Mayfair Club because they find her too nouveau riche and gloats over her rival getting a much-needed taste of her own prejudice ("Now You Know").

During the show's premiere, they are shocked to learn that the sponsor is Charles Revson's newly formed company Revlon, which features Dorian Leigh in an ad campaign that celebrates sex appeal ("Fire and Ice").

In the twilight is where both LuPone's and Ebersole's performances gain their essential poignancy..." and the story line: "War Paint conveys with tremendous authority what it must have been like for both women to have assumed the traditionally masculine role of running a major company..."[15] The Broadway production of War Paint typically received what were deemed mixed reviews with critics seemingly unanimous in praise for stars LuPone and Ebersole but generally less enthused about the overall production,[16][17] as posited by HuffPost critic Christian Lewis: "War Paint certainly is not a revolutionary (or even a very well-written or conceived) musical"... "[but while] the show itself and the cast as a whole may be lackluster and flawed [its two] leading ladies are certainly deserving of praise[:] Lupone [is] hilariously campy and intense[;] Ebersole,...serious and passionate"..."In reality War Paint is a glorified concert for Ebersole and LuPone"..."[whose] magnificent performances...are an absolute must-see"..."[although] these vocal powerhouses cannot...fully [redeem] this flawed musical with its bad lyrics, lazy staging, and entirely bland supporting cast.