Cookham is not Downton Abbey.
Cookham is the English country manor that is the 1932 setting for Rob Urbinati’s “Death by Design,” which Live Theater Workshop opened Saturday, Oct. 13, to a sold-out house.
Rather than Lord and Lady Grantham, we have playwright Edward Bennett (Christopher Moseley), whose work is shallow and formulaic but commercially successful and often stars his wife, self-absorbed actress Sorel (Missie Scheffman). The two have separately fled London after an inauspicious opening night and one of their many rows.
Billed as a mashup of an Agatha Christie-like murder mystery and a cheeky Noël Coward play, an eclectic group unexpectedly arrives at the country house. (Can’t call them “guests” because many were not invited.)
To fully absorb “Death by Design,” put logic, reason and realism aside and luxuriate in the rich language, clever puns, snappy one-liners, “where’d that come from?” references, and rhymes, some of the time.
The house is run by Irish maid Bridgit (Rhonda Hallquist), who wants to keep the carpet clean and solve a murder. She’s upset that the squabbling owners are making an unexpected visit when there is no food for dinner.
Along with Jack (Jonathan Heras), the womanizing chauffeur who ferries some of the visitors from the train station, Bridgit is joined by and annoyed by conservative, hypocritical politician Walter Pearce (Michael Woodson), off-the-wall modern dancer and surrealist artist Victoria Van Roth (Roxanne Harley), idealistic radical Eric (Tyler West) and nearsighted Alice (Emily Gates).
The visitors gather, the liquor flows and an acrimonious class clash and debate over capitalism, socialism, government funding of the arts, hats, marriage and infidelity erupts.
And then one of them is murdered.
The strong ensemble, each embracing the preposterous constructs of his or her character, is lead by Hallquist, who is at her comedic finest as the growling (literally), sleuthing maid. She never breaks her brogue. Scheffman’s diva who loves millinery — the bigger the better — is spot on ditzy and overdramatic.
Harley’s free-spirit interpretations, Gates’ twisted, pouty expressions and fingernails-on-a-chalkboard sobs and shrieks, and West’s wild-eyed, escaped-from-the-asylum reactions to the politics and positions he despises, are laugh-out-loud funny.
A carved-frame sofa and phonograph with a large speaker blooming from its side are among the vintage pieces creating the country home on the small LTW stage. Director Roberto Guajardo has the eight actors move and dance smoothly on the intimate thrust stage without making it feel cramped or crowded. The cast swoops and sways with impeccable timing.
“Death by Design” is packed with guffaw-inducing physical comedy.
However, the Bennetts’ volatile relationship goes beyond banter and bickering. Playwright Rob Urbinati created some uncomfortable moments with references to abuse — he pushed her down the stairs and she walloped him with a Ming vase — and during the politician’s aggressive pursuit of the stage star.
There is nothing genteel about “Death by Design.” Bridgit won’t even serve tea. It is a laughter-filled, delicious diversion.
