“You’ve got wonderful bedrooms. Excellent bedrooms,” the actor Patti LuPone said.

She was referring never to furniture, but claws: the unvarnished kinds around the palms of her existing costar, Christine Ebersole. They compared considerably with Ms. LuPone’s claws, which she himself had lacquered in bright maroon, after decades noticing professional manicurists. “I observe how they push the water,” Ms. LuPone mentioned, pantomiming jar and wash.

“The difficulty is, once I set nailpolish about it actually weakens my claws,” Ms. Ebersole mentioned in a sisterly way. “They only flake off.”

The talons were out, put simply, but this is not just a catfight. More a conversation ’n’ chew between Tony awardwinning performers having the possiblity to discuss a Broadway period for your firsttime in “War Coloring,” one-of a halfdozen fresh musicals debuting in a stack ahead of the time finishes.

Wearing a frustration of flexible dark apparel and connections, the 2 females were revealing a lounge inside the top fifty per cent of a modern duplex at 663 Fifth Avenue, wherever the flagship of Elizabeth Arden’s trademark massage, the Red Doorway, shifted five years back from your florid previous Aeolian Constructing two blocks north. They’d rejected therapies and were rather effortlessly slurping vegetarian sauces.

In “War Coloring,” that is currently in previews and starts in the Nederlander Movie on April 6, Ms. Ebersole, 64, plays Skip Arden, née Florence Nightingale Graham: the businessman who produced cosmetics, long connected with prostitutes, suitable and fascinating for the National midst and top sessions beginning inside the 1910s.

Ms. LuPone, 67, represents Arden’s less-recalled but similarly renowned competition, Helena Rubinstein, who imparted equally inventive and scientific reputation for the search for attractiveness, and who’s attributed with all the term “there are not any hideous females, simply sluggish ones.”

Bette Davis vs. Joan Crawford; Alexis Colby vs. Krystle Carrington: Feminine rivalries have long designed boffo box-office and Nielsen rankings details. But theatergoers longing for Ms. Ebersole and Ms. LuPone to attack eachother with pocketbooks or hurl products like Anne Bancroft and Shirley MacLaine in “The Turning Point” are due for dissatisfaction.

Somewhat, their heroes struggle by providing new services, raiding team and buying advanced realestate: penthouses and region advances for Rubinstein, who provided vast amounts to arts knowledge as well as other causes through her groundwork; an Irish fort and Lexington, Ky., propagation secure for Arden, who was simply passionately specialized in mounts and marched with suffragists.

“We should examine them as role-models,” Ms. LuPone said of the 2 tycoons.

“They were actually impressive,” Ms. Ebersole said.

“My Lord,” Ms LuPone said. “Regardless of what their private imperfections were, or what forced them — nothing which they reached for themselves and inside the brand of girl has previously been coordinated!”

Ms. Ebersole, more carefully: “They made just how, and began before females experienced the vote.”

Ms. LuPone was incensed by news-reports in regards to the departing C.E.O. of Yahoo, Marissa Mayer. “Her male substitute gets doubly muchas she’s,” she explained. “Twice just as much!”

The sex pay inequity frequent inside the film-industry isn’t a concern for “War Coloring,” that is capitalized at $11 trillion and moved by its major women, one or both of whom can be found in allbut four of the show’s quantities. Nevertheless the undeniable fact that its main makers are typical guys may arc an eyebrow.

The audio took its subject and simple philosophy from the double resource by Lindy Woodhead revealed in 2004 a several years later influenced a documentary, “The Dust the Wonder,” to which Mark Rock, a manufacturer, was released from the manager James Lapine. Mr. Rock has received huge accomplishment with “Wicked,” another audio predicated on feminine opponents, and, among different jobs, labored on “The Vagina Monologues” by Eve Ensler.

He named her for assistance before planning.

“Eve said, ‘This can’t be about makeup.’ And it’s not,” Mr. Stone said. “It’s about girls and attractiveness and strength and the way females address each other.”

Mr. Rock and Ms. LuPone equally wrinkle their noses in the phrase “diva,” an outline cribbed from French chrome that’s currently usually placed on any strong feminine reputation inside the leisure market, certainly also indicating too much character. “I merely can’t stay it,” Mr. Stone explained. “Diva indicates difficult.” in A speak about the present a couple of months before, Ms. LuPone offered “dame” alternatively, to signing whoops from your crowd.

After obtaining privileges for the content, Mr. Rock appointed Michael Greif, with whom he’d labored on “Next to Normal” and “If/Subsequently,” to primary. They earned the musician Scott Frankel, the lyricist Michael Korie as well as the guide author Doug Wright, Mr. Greif’s collaborators around the audio “Grey Landscapes,” influenced from the Maysles brothers’ conspiracy documentary regarding the peculiar aristocrats “Big Edie” Beale and her girl, “Little Edie.”

Some early classes of “War Paint” presented Donna Murphy inside the Arden position; but she withdrew for household causes, and Ms. Ebersole, who’d acquired a 2007 Tony for representing both Beales at distinct levels of these lifestyles, presumed the portion.

She and Ms. LuPone, for whom here is the first audio considering that the shortlived “Women around the Edge of the Worried Breakdown” (2010), weren’t afraid about playing the innovative approach. “Both of these were extremely enthusiastic to perform contrary to the clear — feuding, greater-than-lifestyle celebrities which sort of vitality — and truly uncover techniques where your competitors between them was healthy,” Mr. Frankel mentioned several hours before layer over a new morning.

“These females were substantially superior and classy and properly-practiced incorporate weaponry,” Mr. Wright explained. “They didn’t must lessen what to an insult; they are able to truly pay enterprise rivalry against one-another and did thus extremely efficiently for 50 years.” Something “that sensed inexpensive or effortless,” he explained, the performers “instantly rejected.”

Complaint of an out-of-community tryout in Dallas last summer dedicated to continual ping-ponging between its two themes, who apparently never satisfied in real-life. Of a next of the present continues to be adjusted, the makers mentioned, equally to strengthen the solo performances also to locate book means of delivering the heroes together onstage.

“There was some tightening,” Mr. Frankel explained, falling into facecream patois. “Because it’s the 2 of these, there’s slightly of untouched again-and-forthness that’s implicit inside the task of the nighttime, but I do believe we attempted to get approaches to combine that up in more unanticipated ways.”

He and his peers were insistent that “War Paint” isn’t strictly ladies’ enjoyment, although Broadway crowd is disproportionately female, a demographic that’s helped produce displays like “Waitress” into visits.

“There are metaphors inherent inside the notion of makeup that I do believe surpass sexuality,” Mr. Wright explained. “It supplies a prospective disguise where you could imagine to become somebody you aren’t; it includes a hide should you don’t need to be identified; it includes a toward a specific sort of observed selfimprovement; it’s some sort of attraction to entice somebody else.”

But having its 10-unusual outfit adjustments created by Catherine Zuber, including flying saucer caps and loads of shimmering jewelry, and make-up by Angelina Avallone, “War Paint” continues to be a celebration for your two celebrities to think on how cosmetics as well as other functions have already been integrated with their extended occupations.

“Once I wear the wig it’s like ‘O.K., badda bing, badda boom,’” Ms. LuPone said. “I’m not the sort of actor that switches into a large part and meditates for 20 units around the bones of Helena Rubinstein. Can you understand what after all?”

Ms. Ebersole stated that for artists backstage along with for many individuals in-real-life, “putting on makeup is really a genuinely wonderful focusing unit. It’s an easy method of experiencing you give attention to what you’re undertaking. When you put-on the disguise, then a other items come through.”

She valued her workin the 2001 resurrection of “42nd Avenue,” which is why she acquired her first Tony with all the support of 1930s regalia by Roger Kirk: “The outfits merely advised everything.”

This motivated Ms. LuPone to remember about “Evita,” which is why she got her initial Tony, at 31. “The level of — for not enough an improved phrase — gack that we’re gaining!” she explained. “I also harken back again to the period in ‘Anything Goes’ once I was in these tendency-cut dresses. Oy, I can’t don a-slice dress currently to save lots of my entire life, except I’m secured in.”

the 2 performers were “babies inside the metropolis jointly,” as Ms. LuPone placed it. She appeared in 1968 to wait Juilliard, where she examined with Marian Seldes, having identified she wished to conduct because she was 4, standing downstage right in a touch recital.

Ms. Ebersole, who’d visited MacMurray College in Jacksonville, Ill., before applying in the National School of Extraordinary Arts in 1973, had had different programs. “I would definitely be described as a nurse,” she explained.

“Of class you’re,” Ms. LuPone said. “Look at her!”

Rather Ms. Ebersole supported consumers in the Lion’s Steel, a bistro around the Top Eastside with water playing along a four-account piece of reddish stone. “It’s houses currently, I do believe,” she explained.

Ms. LuPone, meanwhile, worked in a “wannabe mobster” hangout function by way of a gentleman who imported crates for moving ladies in clubs. “My roommate was one of many performers, and that I wasn’t quite enough, large enough or slender enough to become a dancer, therefore I was a waiter in a seethrough lace mini dress,” she explained.

Both females bemoaned a missing time when celebrities (and stagehands) were identified and accepted inside the cinema region at areas like Jimmy Ray’s and Charlie O.’s, and used time following the present mingling instead of growing readers on Facebook and facebook.

“I feel we’ve less showmen,” Ms. LuPone said. “Like the Irving Thalbergs as well as the Alex Cohens as well as the John Whiteheads as well as the individuals who adored the cinema or liked creating videos. It’s this kind of motto, but it’s all bean counters. It’s research. Polling.”

this is a the unanticipated foil inside the Arden-Rubinstein series was Charles Revson, the founding father of Revlon, delivered in “War Paint” by Erik Liberman as “a two-touch circus barker in a Chinese suit.” It’s aline that for a few a part of the creation got on fresh resonance after Donald J. Trump beat Hillary Clinton.

Overnight, inside their watch, the audio went from party to cautionary tale.

After Rubinstein died in 1965, Revson acquired her Park Avenue triplex. But that wasn’t the last indignity. A year ago, the business he launched, which had delivered gender back in the mid-century cosmetics industry with effective ad-copy and elegant styles, got over Elizabeth Arden.

“Everybody’s going around inside their plot!” Ms. LuPone said.

Not that some of these models produce her specially classic. “I was once a Georgette Klinger lady. For decades,” she mentioned, following the two females crammed up a present of exfoliating experience parts and originated seven surfaces for the foyer.

“Oh my gosh, Georgette Klinger, I entirely neglected that brand,” Ms. Ebersole mentioned, flashing her violet eyes around the inviting tarmac.

“That was a salon,” Ms. LuPone said. “You’d move in, and close the entranceway, and so they were exactly about stepping into your-face. They don’t enter into that person anymore.”

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