The Musical Comedy Murders of 1940 The creative team responsible for a recent Broadway flop (during which three chorus girls were murdered by the mysterious “Stage Door Slasher”) assemble for a backer’s audition of their new show at the Westchester estate of a wealthy “angel.” Comic mayhem ensues when the infamous “Slasher” makes his reappearance and strikes again — and again. As the composer, lyricist, actors and director prepare their performance and a blizzard cuts off any possible retreat, bodies start to drop in plain sight and accusing fingers point in all directions. An ingenious and wildly comic romp poking fun at the more ridiculous aspects of “show biz” and the corny thrillers of Hollywood’s heyday, the play is a non-stop barrage of laughter as those assembled (or at least those who aren’t killed off) untangle the mystery of the “Stage Door Slasher.” “…a kind of crossbreeding of Charles Ludlam (The Mystery of Irma Vep) and Terrence McNally, seasoned with a soupçon of Noises Off.” —The New York Times. “…enormous fun…Its strength comes in part from the sheer diamond wit and diamante showbiz glitter of Bishop’s writing. Even his corn is succulently served.” —New York Post. “…Bishop gives us a nakedly silly

The Musical Comedy Murders of 1940 The creative team responsible for a recent Broadway flop (during which three chorus girls were murdered by the mysterious “Stage Door Slasher”) assemble for a backer’s audition of their new show at the Westchester estate of a wealthy “angel.” Comic mayhem ensues when the infamous “Slasher” makes his reappearance and strikes again — and again. As the composer, lyricist, actors and director prepare their performance and a blizzard cuts off any possible retreat, bodies start to drop in plain sight and accusing fingers point in all directions. An ingenious and wildly comic romp poking fun at the more ridiculous aspects of “show biz” and the corny thrillers of Hollywood’s heyday, the play is a non-stop barrage of laughter as those assembled (or at least those who aren’t killed off) untangle the mystery of the “Stage Door Slasher.” “…a kind of crossbreeding of Charles Ludlam (The Mystery of Irma Vep) and Terrence McNally, seasoned with a soupçon of Noises Off.” —The New York Times. “…enormous fun…Its strength comes in part from the sheer diamond wit and diamante showbiz glitter of Bishop’s writing. Even his corn is succulently served.” —New York Post. “…Bishop gives us a nakedly silly

The Musical Comedy Murders of 1940 The creative team responsible for a recent Broadway flop (during which three chorus girls were murdered by the mysterious “Stage Door Slasher”) assemble for a backer’s audition of their new show at the Westchester estate of a wealthy “angel.” Comic mayhem ensues when the infamous “Slasher” makes his reappearance and strikes again — and again. As the composer, lyricist, actors and director prepare their performance and a blizzard cuts off any possible retreat, bodies start to drop in plain sight and accusing fingers point in all directions. An ingenious and wildly comic romp poking fun at the more ridiculous aspects of “show biz” and the corny thrillers of Hollywood’s heyday, the play is a non-stop barrage of laughter as those assembled (or at least those who aren’t killed off) untangle the mystery of the “Stage Door Slasher.” “…a kind of crossbreeding of Charles Ludlam (The Mystery of Irma Vep) and Terrence McNally, seasoned with a soupçon of Noises Off.” —The New York Times. “…enormous fun…Its strength comes in part from the sheer diamond wit and diamante showbiz glitter of Bishop’s writing. Even his corn is succulently served.” —New York Post. “…Bishop gives us a nakedly silly

The Musical Comedy Murders of 1940 The creative team responsible for a recent Broadway flop (during which three chorus girls were murdered by the mysterious “Stage Door Slasher”) assemble for a backer’s audition of their new show at the Westchester estate of a wealthy “angel.” Comic mayhem ensues when the infamous “Slasher” makes his reappearance and strikes again — and again. As the composer, lyricist, actors and director prepare their performance and a blizzard cuts off any possible retreat, bodies start to drop in plain sight and accusing fingers point in all directions. An ingenious and wildly comic romp poking fun at the more ridiculous aspects of “show biz” and the corny thrillers of Hollywood’s heyday, the play is a non-stop barrage of laughter as those assembled (or at least those who aren’t killed off) untangle the mystery of the “Stage Door Slasher.” “…a kind of crossbreeding of Charles Ludlam (The Mystery of Irma Vep) and Terrence McNally, seasoned with a soupçon of Noises Off.” —The New York Times. “…enormous fun…Its strength comes in part from the sheer diamond wit and diamante showbiz glitter of Bishop’s writing. Even his corn is succulently served.” —New York Post. “…Bishop gives us a nakedly silly

The Musical Comedy Murders of 1940 The creative team responsible for a recent Broadway flop (during which three chorus girls were murdered by the mysterious “Stage Door Slasher”) assemble for a backer’s audition of their new show at the Westchester estate of a wealthy “angel.” Comic mayhem ensues when the infamous “Slasher” makes his reappearance and strikes again — and again. As the composer, lyricist, actors and director prepare their performance and a blizzard cuts off any possible retreat, bodies start to drop in plain sight and accusing fingers point in all directions. An ingenious and wildly comic romp poking fun at the more ridiculous aspects of “show biz” and the corny thrillers of Hollywood’s heyday, the play is a non-stop barrage of laughter as those assembled (or at least those who aren’t killed off) untangle the mystery of the “Stage Door Slasher.” “…a kind of crossbreeding of Charles Ludlam (The Mystery of Irma Vep) and Terrence McNally, seasoned with a soupçon of Noises Off.” —The New York Times. “…enormous fun…Its strength comes in part from the sheer diamond wit and diamante showbiz glitter of Bishop’s writing. Even his corn is succulently served.” —New York Post. “…Bishop gives us a nakedly silly