The characters gather for a backer’s audition for a new musical, “Merry-go-round in Washington,” made by the same creative team that made a Broadway flop two years previously—one that was shut down because three chorus girls were murdered. When the producer is discovered with a sword in her back after a power outage, it’s clear that a murderer is on the loose once again and hijinks ensue as the motley crew of thespians is left to its own devices to solve the case.

The play lasts about two hours, with an intermission between the two acts. Throughout, although all the actors did an excellent job, some performances stood out. In particular, Igor Stolarsky was completely natural as the awkward and irreverent comedian Eddie McCuen; and being naturally awkward is rather like faking sincerity—once you can do that, you’ve got it made. Tina Blatsos also shone as the alcoholic lyricist, imbuing the character with real fear, excitement, and giddy love for her drinks as the tangled web of mystery and intrigue ensnared everyone in the theater. Everyone in the theater empathized with her as she ran screaming in fright of a murderer in the mansion, or gleefully held her wine bottle tightly to her chest.

Finally, Bradley Bassen, playing a character whose name is withheld so as not to spoil the play, was outstanding, with many quick costume changes and a tension dynamic between the other characters that very few actors could successfully accomplish. Oftentimes his character would be seen in a situation where complicated intentions and tongue-in-cheek humor were conveyed by a simple facial expression.

As usual, the behind-the-scenes work at the Playhouse was nothing short of stellar. The set was a convincing 1940s era library, and secret passages are fun no matter what room they’re in. The costumes were authentic and everything fit together smoothly; the backstage crew did an excellent job managing its usual million-and-one tasks, and the audio and lights crew was impeccable.

Another key element in the play’s success is the humor of the dialogue. Naturally, the character of the comedian provided some of this, as did that of the alcoholic lyricist, but the hilarity suffused every word and every action of the play, including the foppish director’s running gag of reciting the famous actors in his unreleased films (which everyone had already seen), and the spontaneous synchronized plié motion of the sergeant, the director, and the comedian when it is discovered that the three murder victims of the previous show were all wearing a tutu.

Although the play is not of unusual length, the John Bishop-authored story is difficult to recount in its entirety afterwards, because it contains more twists and turns than a tri-complex French braid. Nevertheless, audience members had no trouble following along and picking up the humor at every step of the way, due mostly to the excellent acting on the part of all the cast members.

From the delicious homemade fudge during the intermission to the comedy running rampant on the stage, theatergoers could not help but enjoy themselves immensely at the Playhouse’s 76th season opener. Two more performances remain, November 18 and 19 at 8 pm, and ticket prices are $5 with an RPI ID, $8 for all other students and seniors, and $10 general admission. The masterful and tongue-in-cheek presentation of humor and farce that is The Musical Comedy Murders of 1940 is more than worth the ticket price.