‘A Gentleman’s Guide…’ at Olney is a Killer

There are different ways to climb the social ladder.  There are different ways to rise above others to get rich.  But killing your competition?  Eight of them, in fact? That’s a whole different matter.

A Gentleman’s Guide to Love and Murder, currently playing at the Olney Theatre Center, is a dazzlingly wicked and raucously funny musical comedy that stands as one of the most delightful gems of modern theatre. Winning the Tony Award for Best Musical in 2014, this fast-paced show mixes dark humor with old-school charm. It turns a story about a serial killer into a lighthearted, hilarious theatrical experience.

Director Eleanor Holdridge and Choreographer Ashleigh King guides the ultra-talented cast through this joyful romp. Olney’s superb maestro Christopher Youstra and the eight-piece orchestra bring the terrific score to life and enhance the stellar vocal talents of the cast and ensemble.

The musical features a book and lyrics by Robert L. Freedman and music and lyrics by Steven Lutvak and is based on a 1907 novel called Israel Rank: The Autobiography of a Criminal by Roy Horniman. The music sounds like a beautiful blend of traditional British music hall and Gilbert and Sullivan operetta. The songs are packed with fast, witty rhymes that will stay stuck in your head long after you exit the theater.

With tongue firmly in the cheek, the audience learns from the outset that the show could be uncomfortable if they have a “weaker constitution,” and if so, they should go.  Indeed, there is a serial killer on the loose, but with the exception of a couple of killings, there isn’t much gore, so don’t take the bait.  Stick through it and enjoy this witty laugh-a-thon.

Set in Edwardian England in 1909, we follow Monty Navarro (played impeccably by Jacob Tischler), a poor young man who just found out from a woman named Miss Shingle (played zestfully by Donna Migliaccio) that his recently deceased washerwoman mother was actually a member of the aristocratic D’Ysquith family.  She had been banished, however, when she defied the family wishes and eloped with a Castilian and worse, a musician (also deceased). 

Mom never told her son about his true ancestry, but Miss Shingle informs him that he is ninth in line to inherit the earldom of Highhurst and encourages him to take his rightful place in the family.  Unfortunately, eight obnoxious relatives stand in his way.

Realizing that his dream for wealth and a high society woman is only eight bodies away, Monty proceeds to off all those ahead of him in the line of succession in various and sundry ways.  The methods he uses are bizarre and creative and seem to fit the personality or livelihood of the victims to a tee.  For example, a bodybuilder Major Lord Bartholomew D’Ysquith perished when Monty allowed an over-weighted barbell to fall hard on the unsuspecting soul’s neck. 

A flamboyant Henry D’Ysquith who was married but is clearly enamored by men is also a beekeeper.  Monty sprays a lavender perfume on Henry’s beekeeping clothes knowing that it attracts bees—so many, in fact, that the victim dies from the overwhelming number of stings.

There are more, of course, including the most gruesome of all—the fall from a church tower by Reverend Lord Ezekial D’Ysquith—but it’s best to just leave you with these teasers.

Because the relatives are so snobby and awful, their sudden demises are treated as amusing comic vignettes rather than scary crimes. Monty writes all this in his journal while in jail two years later after he is arrested for the murder of one of the victims, which ironically was the one death for which Monty was not responsible. 

During the ensuing carnage, Monty had fallen in love with Sibella Hallward (Sumié Yotsukura), a social climbing, self-centered, beautiful woman.  He also encounters a more down-to-earth but equally pretty Phoebe D’Ysquith (Sadie Koopman), Henry D’Ysquith’s sister, who happens not to be above him in the line of succession. He is faced with a difficult choice.

This leads to the show-stopping song “I've Decided to Marry You,” a masterpiece of physical comedy. Monty tries to hide both women in separate rooms at the same time, resulting in slamming doors, complex harmonies, and breathless laughter.

A twist at the end is better left unmentioned here.

"...a dazzlingly wicked and raucously funny musical comedy..."

The musical is unique in that all of the D’Ysquith victims are played by a single actor, Tom Story, who delivers a masterful tour de force performance. The actor must sprint backstage for rapid costume changes (over a dozen are needed), shifting characters and accents in mere seconds. Not only does he cleverly take on the essence of each ill-fated character—male and female—but he deftly uses a variety of dialects and personalities to portray them.   

His muscular baritone voice shines in several fun songs like “I Don’t Understand the Poor,” “Poison in My Pocket,” “Better With a Man” (a sidesplitting duet with Mr. Tischler), and “Looking Down the Barrel of a Gun.”

As the anti-hero Monty, Jacob Tischler demonstrates his sensitivity and vulnerabilities quite proficiently.  On stage for just about the entire production, Mr. Tischler remains strong throughout with his acting skills and glorious tenor voice.  That talent is evident in such numbers as “You’re a D’Ysquith,” “Foolish to Think” and “Stop! Wait! What?!” 

And the aforementioned show-stopping number “I’ve Decided to Marry You”—a zany, high-energy song with Mr. Tischler, Sadie Koopman as Phoebe and Sumié Yotsukura as Sibella—is a dandy.

Ms. Koopman’s beautiful soprano highlights the duet with Mr. Tischler in “Inside Out.” For her part, Ms. Yotsukura’s stellar soprano soars in “I Don’t Know What I’d Do” and “Poor Monty.”

The talented Ensemble support the leads in back-up comedy lines, singing and dancing. (The entire cast is shown at the conclusion of the review.)

Scenic Designer John Coyne presents a totally gorgeous set reflecting the era. A beautiful proscenium arch engulfs the stage. A video screen is used for special effects especially when the murders take place. Numerous old portraits of the D’Ysquith clan are displayed all over the walls, and a D’Ysquith family tree is seen whereby the branches representing each heir falls to the floor as each one meets his or her demise.

There is a substage where much of the dialogue and songs between Monty and his two loves take place. In addition, the actors utilize the stage’s apron bringing them closer to the audience. This all lends depth and texture to the production.

Minjoo Kim’s lighting design is also exceptional with rich hues bathing the stage. Red lighting is used quite a bit for dramatic emphasis. Matthew Rowe’s sound design is flawless, which leads to clear dialogue and enabling the music fill the theatre.

Then there are the costumes by Sarah Cubbage. Magnificent period attire is represented throughout. The splendidly colorful floor length gowns worn by the ladies are brilliant.

A Gentleman's Guide to Love and Murder succeeds because it makes the audience root for the bad guy and laugh at things that should be terrible. The well-directed production at the Olney Theatre Center is top-notch in every element. If you appreciate dry British wit, farce, and stellar acting and singing with a stunning set and costumes, this musical is an absolute must-see.

Running time: Two hours and 30 minutes with an intermission.

A Gentleman’s Guide to Love and Murder plays through August 23 at the Roberts Mainstage Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD 20832

Tickets: $45 - $108 available here and 301-924-3400

 Performance Schedule: Wednesdays through Saturday evenings at 7:30 p.m. Wednesday, Saturday, and Sunday matinees at 1:30 p.m. Sunday evenings at 7:00 p.m. on August 16

Accessible Performances:

Audio-Described Performance – Wednesday, July 15 at 7:30 p.m.

ASL Interpreted Performance – Thursday, July 16, at 7:30 p.m.

 

Photos: Teresa Castracane Photography