author: Cybele Pomeroy

Web of Murder of Bowie Community Theatre: Killer comedy? Or comedy killed?

Really, this show should slay you in your seat. It’s a cozy little Victorian scenario, with all the tropes you’d expect, including lots of doors for popping in and out of, a set decorated to within an inch of its two-by-four life, an eight-member multi-generational cast, dogs, secret passageways, supernatural trances and enough villainous intent to fill an Orient Express. The setup is that a wealthy invalid woman calls her family members to her groaning gothic home to discuss her will and their potential inclusion in it. She is insulting and unpleasant, but prevents them from leaving, then is dismayed at the arrival of a surprise additional guest. Deadly antics ensue. 

Jonathan Troy is the author of three plays, Web Of Murder, All Because Of Agatha and A Handful Of Rainbows. None are frequently produced, and I find no reader reviews of any of them. Troy’s 1964 script claims to be an Agatha Christie style whodunnit, and indeed at the outset it seems very like Christie’s script And Then There Were None. It is at this point that any resemblance to the work of Dame Agatha ends.

The characters are two-dimensional, much of the dialogue is uninspired, and despite the script being billed as ‘farce’- mind you, I LOVE farce- the comedy isn’t at the forefront of the performance. The script is packed to the gills with twists and more twists, complications and double-crosses, until one’s head fairly swims trying to keep it all straight. This script, however, has no business being played straight- it ought to be played for comedy from top to bottom.

In spite of this, it’s an entertaining piece. For all the hackneyed bits and deus-ex-machinas, there’s much to like about the production. I’ve got a big old crush on the set, first of all, with its plethora of smooth entrance points, deep crimson color scheme and posh trappings. Set Designer Dan Lavanga understands the assignment and presents a lush vision of a decaying mansion on a lonely hill. A certain bloodthirsty Count would likely feel right at home here. 

Director Randy Tusing keeps the characters moving, breaking up the huge swaths of dialogue that desperately want to be clever. Among the actors are a couple of newcomers to Bowie Community Theatre, a few whom I’ve enjoyed before in previous productions, and an overall high level of community theatre confidence. Jeanne Louise, playing Minerva Osterman, is delightfully unpleasant and extremely deft maneuvering a wheelchair around and through the set, which is thick with decorative flourishes. Playing Minerva’s daughter Stephanie Osterman is Melanie Belkin, who does an excellent job of looking distressed and cornered, but not so well at looking 36 years old, as her character is purported to be. Nora, the housekeeper, is played by Rosalie Daelmans with vim and vinegar, hinting at some character depth which ultimately proves important. Lauren Barnes as an uninvited interloper is confident, unsubtle and physically very striking to observe. Dana Fleischer as Mary Hamilton, the “good” niece is breathlessly naive, while Jessie Duggan, playing Belle, the “bad” niece is sassy and brassy. Anthony Rappa and Tatum Moss as the respective love interests of the sisters are strong performers, Rappa with a small hint of treachery and Moss with a great deal of physical comedy. Mrs. Osterman’s live-in physician, Dr. Adler, is played with authority by Roy Hammond.

The sound quality is perfect, and the actors’ diction is excellent- I never need to wonder what anyone had just said. In addition, the soundscape, designed by Mo Gaia, Sally Dodson and Randy Tusing, is entertaining and adds significantly to the environment and atmosphere. Costuming by Linda Swann is period- and character- appropriate, with a couple of spectacular pairs of shoes. One frock causes a murmur of consternation among the audience, so that piece obviously has its intended effect. Hats off for that one, Ms. Swann!

The performers are all clear in their motivations, and deliver good performances, particularly Jessie Duggan as Belle Hamilton and Tatum Moss as Pete Martinelli. The curlicues of the plot and the preponderance of heavily expository passages of dialogue are certainly not the fault of the actors, and they handle both reasonably well. Unfortunately absent is the comic timing that would turn this convoluted script into a darkly hilarious, unapologetically non-serious romp amongst the traditions of gothic novels and cozy mysteries. Even so, it’s an amusing evening full of intrigue, surprises and a satisfying conclusion.

Running time: 2 hours and 15 minutes with one intermission

Web of Murder plays through November 16^th 2025 with Bowie Community Theatre at Bowie Playhouse— 16500 White Marsh Park Dr. in Bowie, MD.

Performances are Fridays & Saturdays at 7:30pm; Sundays at 2:00pm

Tickets can be purchased at the door, by calling the box office at 301-805-0219 or in advance online.

Free parking is available in the lot beyond all the athletic facilities, after which you’ll have a pleasing walk on a paved pathway to the theatre. Seating is General Admission- be sure to arrive early enough to seat your whole group together. If you or a guest have accessibility concerns, contact the BCT Hotline (301-805-0219) or email bowiecommunitytheatre.md@gmail.com prior to the performance date for wheelchair or other accommodations.

BCT is running a food drive in support of the Bowie Food Pantry. Bring one non-perishable food item for donation in exchange for one FREE concession item. They also offer a 50/50 raffle, which is drawn and announced at intermission.

Final Factoid: The entrance to the complex that houses Bowie Playhouse comes up quite suddenly on Route 3 Southbound. Use your GPS to warn you if you’re not familiar or haven’t been in awhile.