Review by Val O’Bryan, Front Row Reviewers
If you are looking for a way to escape the summer heat and laugh yourself silly, look no further than the Randall L. Jones Theatre, where A Gentleman’s Guide to Love and Murder is playing through October 3rd. Directed by Amanda Berg Wilson, this musical is fast-paced, witty, and hails the musical traditions of the early 20th Century. Even though this musical is very modern (debuting in 2013), the live, on-stage pianist (and music director) Brad Carroll, the operetta-type singing, patter songs, and ensemble harmonies feel classic and timeless.
The story follows the charming and ambitious Monty Navarro (Rob Riordan), a penniless young man in Edwardian England, who learns from a mysterious acquaintance of his deceased mother, Miss Shingle (Melinda Parrett) that he is related to the wealthy D’Ysquith family. In fact, he is ninth in line to inherit the D’Ysquith family earldom. Determined to rise in society and win the affection of the beautiful but status-obsessed Sibella Hallward (Katie Drinkard), Monty sets out to eliminate the eight D’Ysquith heirs who stand between him and the title by any means necessary.
Riordan returns to the festival with strong vocals and bounteous charisma. When you are in a musical about murder, it can be tricky navigating the line between likable and lethal, and Riordan executes the part masterfully. Parrett is an established favorite at the festival. She excels in every part she tackles. Her Miss Shingle is a comedic force of nature. Parrett’s expressive voice and animated delivery make every moment a delight. New to the festival this year, Drinkard is pretty in pink with a sophisticated voice to match.
Each of the doomed heirs (and some bonus characters) is hilariously portrayed by a single actor (Graham Ward), adding to the show’s fast-paced, farcical tone. Monty’s methods of murder are clever and creative, ranging from sabotaging ice skating outings to tampering with bee hives. As Monty climbs the social ladder, he also finds himself caught in a love triangle between Sibella and his distant cousin Phoebe D’Ysquith (Nicole Eve Goldstein), who is sweet, sincere, and morally upright, everything Sibella is not.
Ward delivers a virtuosic performance, shapeshifting through each of the D’Ysquiths with dazzling precision and giddy theatricality. The speed at which he transforms and pops up in different places on the stage and in the theater is shocking and adds to the hilarity. Goldstein brings warmth and sweetness to Phoebe, glowing with sincerity in every scene. Her voice is simply angelic, and every note lands.
One of the true delights of this production is its small but mighty ensemble: Zac Barnaby, Laura Brennan, Luke Sidney Johnson, Frank Oden, and Mikki Pagdonsolan. Each performer takes on a wide range of characters—from servants and townspeople to judges and wedding guests—spanning different social classes and personalities. These quick shifts require a whirlwind of costume changes, all cleverly designed by K.L. Alberts, whose wardrobe choices are as playful as they are period-appropriate. The ensemble is in near-constant motion, their choreographed transitions driving the flow of the show with seamless precision. Choreographer Diana Dresser ensures that even the smallest movement feels purposeful, orchestrating not only character interactions but also the movement of set pieces, which often serve as physical punchlines in their own right. Jo Winiarski’s inventive set design relies on a few versatile pieces used in endlessly surprising ways. Take, for example, the potted triple-ball topiary—it reappears throughout the show as everything from a barbell to a wedding bouquet, each transformation funnier than the last. Every ensemble member brings a strong voice, expressive physicality, and infectious energy to the stage, making their contributions essential to the show’s charm and momentum.
The musical blends witty lyrics, clever wordplay, and a classic operetta style to skewer the British class system and the idea of “deserved” inheritance. In the end, Monty’s journey becomes more complicated than he anticipated, with twists involving mistaken identities and an unexpected heir that keeps the audience guessing. Despite the dark premise, the tone remains light and humorous throughout, making A Gentleman’s Guide to Love and Murder a crowd-pleasing satire full of charm, murder, and moral ambiguity.
Utah Shakespeare Festival presents A Gentleman’s Guide to Love and Murder, books and lyrics by Robert L. Freedman, Music and lyrics by Steven Lutvak, based on the novel Israel Rank by Ray Horniman.
Randall L. Jones Theatre, 351 W Center Street, Cedar City, UT 84720
Plays on select dates until October 3, 2025, 2:00 PM and 8:00 PM
Tickets: $15-85
Contact: 435-586-7878 or 1-800-PLAYTIX, guestservices@bard.org
Utah Shakespeare Festival Facebook Page
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