WASHINGTON TERRACE — Beverly’s Terrace Plaza Playhouse’s production of A Gentleman’s Guide to Love and Murder is a triumph: witty and sharp, this show offers a night of clever comedy, glorious singing, and delightfully macabre mayhem as directed by Jim Christian. This was my first opportunity seeing this new musical by Robert L. Freedman and Steven Lutvak. The show debuted on Broadway in 2013 and quickly became a critical darling, winning four Tony Awards, including Best Musical. Based on the 1907 novel Israel Rank: The Autobiography of a Criminal, the musical tells the story of Monty Navarro, a penniless young man who discovers he’s ninth in line to inherit a fortune. With a little ambition (and a lot of creativity), Monty sets about removing the eight D’Ysquith relatives standing in his way. Murder has never been so charming—or so funny.
Joseph Robinson is sensational in the leading role of Monty Navarro. Robinson captures Monty’s boyish charm and sly ambition with ease, and sings with a rich, agile tenor voice bringing the character’s journey to life. From sweet ballads to rapid-fire patter songs, Robinson’s vocal performance was consistent and emotionally grounded. I particularly loved Robinson’s ability to project what Monty is thinking when making a big choice within a small, perfectly timed comedic moment. Robinson’s Monty treats every intrusive thought like a helpful suggestion—and the results are hilarious.
Playing every member of the doomed D’Ysquith family is the phenomenal Scot Struble. In what must be one of the most demanding comedic roles in musical theatre, Struble dazzles while switching costumes and characters at breakneck speed. Struble’s physical comedy is impeccable, and his vocal prowess is excellent. Struble makes each D’Ysquith’s demise a hilarious highlight.
The women of the show are all multifaceted and fantastic. Melissa Trenery sets the tone beautifully as Miss Shingle, whose sly delivery and expressive singing welcome the audience into Monty’s devilish journey.
The first person Monty rushed to talk about his change in fortunes is glamorous Sibella Hallward, played in pink perfection by Karlie Ady. Ady’s sparkling soprano and mischievous twinkle perfectly balances Sibella’s selfishness and undeniable allure in the solo “I Don’t Know What I’d Do.” Monty finds himself in the classic love triangle after meeting cousin Phoebe D’Ysquith, played by Angie Call. Call brings a sweet sincerity along with strength to the role. Call’s soaring vocals, particularly in the showstopping trio “I’ve Decided to Marry You,” are a true highlight.
The ensemble—Erin Roring, Ash McKnight, Maura Gardner, Darin Beardall, John Lee Roring, and Kaden MacKay—bring humor, energy, and razor-sharp vocals to the many supporting roles, creating a lively, ever-changing world around Monty.
The score of A Gentleman’s Guide demands exceptional vocal technique, and this cast delivers an excellent performance under the skilled direction of Music Director Whitney Cahoon. Harmonies are tight, diction crisp, and the blend was beautiful. I found the script’s numbers catchy and incredibly well crafted, and these performers navigate the show’s complex musical demands delivering a polished sound. There were a few hiccups at the beginning of the show, as there often are on opening night in live local theatre. The mics struggled with some static and once with interference piped in the wrong mic. It was resolved fairly quickly and none of the actors missed a beat.
Director and Choreographer Jim Christian steers the production with a deft hand, keeping the pace brisk. Christian’s staging is dynamic and inventive on the Terrace’s small thrust stage. I enjoyed the moments of discovery and witty details that enhance the comedy without overwhelming the story, such as when Monty decides whether to commit his first murder of a priest who took him to the top of the church. They pause in a vignette of The Creation of Adam for Monty to have a moment to decide, before the priest tumbles upstage and splats onto a screen. The projections designed by Jim Christian and Miland Palmer add an extra layer of storytelling, creating vivid locations and clever visual gags without ever slowing the action. Palmer doubles as the lighting designer and uses red light gels to spotlight key moments and add a lot to the action. Also, I loved the minimal set design so the focus can stay on the actors and the quick scene changes allow the show to never lose momentum. The technical elements all come together seamlessly.
The costumes and wigs are critical to the storytelling and are credited to a large team of people. The team did a good job pulling together so many period pieces that help define the many characters and must be switched out at lightning speed. There was a small wardrobe malfunction during the quick change into Lady Hyacinth when Struble came on stage and the skirts were sideways and buttons totally misaligned. Struble either didn’t notice or care acting in character as Lady Hyacinth continued to search for a cause worthy of her imperialist efforts.
I will note that this show may not be suitable for all audiences. It features adult themes and humor, including playful scenes where you find yourself laughing at Monty’s murderous plots and romantic entanglements — one of which includes a lighthearted, tongue-in-cheek number, “Better with a Man,” shared with a more delicate D’Ysquith relation. That said, Beverly’s Terrace Plaza Playhouse has delivered a professional, polished, and wildly entertaining production. Joseph Robinson’s Monty is irresistibly charming, with excellent chemistry with each love interest; Scot Struble’s D’Ysquiths are comedic gold; and the entire ensemble shines with vocal brilliance and boundless energy. With thoughtful direction and exceptional musicality, this production offers everything you could hope for in a night of local theater and is murderously good fun from beginning to end.
