THEATER REVIEW:

Frederick Knott wrote only three plays, but since two of them were “Dial M for Murder” and “Wait Until Dark,” he undoubtedly made a pretty comfortable living off the royalties.

Both are heavily plotted, suspense-laden tales of ordinary people caught in a web of crime, and both have received ample exposure on local stages over the past several years. In fact, “Dial M” currently is being resurrected in a splendid production at the Newport Theater Arts Center.

In Knott’s meticulously crafted script, the would-be murderer never makes it through the first act and the plotter of a botched killing stands to benefit from a collection of carefully planted circumstantial evidence. Those who’ve seen Alfred Hitchcock’s movie treatment of the Knotty script are quite familiar with all the twists and turns.

At Newport, director Phyllis Gitlin has mounted a richly involving revival, placing particular emphasis on character as well as the circuitous plot, in which a mercenary former tennis bum plots the murder of his wealthy wife and pressures a nefarious college acquaintance to commit the deed.

After discovering what happens to the best-laid plans, the focus shifts to the confused and frightened wife, facing prison and execution for causing the hit man’s demise. Here, the local players have hit the nail precisely on the head.

Stephanie Schulz is radiant as the wife, shifting seamlessly from nonchalance to abject terror. Her terrified reactions as the noose of evidence begins to tighten around her are superbly enacted, the abject fear reflected in her facial features.

Her plotting husband, Paul Breazeale, initially is hampered by a youthful appearance and a forced English accent, but he overcomes both in a convincing performance, particularly when describing the upcoming crime to its potential perpetrator. Breazeale draws playgoers into his web of nastiness while outwardly maintaining an air of smiling cordiality.

Tony Carnaghi, as Schulz’s onetime illicit lover returning to London to rehash old times, is crisp and methodical as his character — a mystery writer — unfolds a mirror-image plot of the actual crime aimed at saving his former paramour.

As the felonious “friend” recruited for a murderous mission, Sean Engard chills the atmosphere with his blunt outrage, which gradually turns to grudging acceptance as Breazeale turns the screws. Like Schulz, Engard conveys volumes of emotion with carefully designed facial reactions.

The overaged, overweight inspector on the case, whose deductive mind remains sharply in focus, is masterfully interpreted by Bob Kokol, virtually absconding with the second act. Steve Hill completes the case as his towering bobby assistant.

Bill Cole’s utilitarian setting and Mitch Atkins’ fine lighting effects further enhance the production, along with Andrew Otero’s early-1950s costumes.

“Dial M for Murder” retains its aura of suspense, no matter how many times one has witnessed it, when presented in a crisply involving manner, such as the current production in Newport Beach.

IF YOU GO

WHAT: “Dial M for Murder”

WHERE: Newport Theater Arts Center, 2501 Cliff Drive, Newport Beach

WHEN: 8 p.m. Thursdays through Saturdays and 2 p.m. Sundays until Oct. 12

COST: $15

CALL: (949) 631-0288

Hats off to “Italian Straw Hat”

To fully appreciate “An Italian Straw Hat, a Vaudeville,” now in its world premiere at South Coast Repertory, one must understand that, a century ago, women appearing hatless in public might as well be missing the rest of their garments, such would be the embarrassment factor.

Losing one’s topper on the street, therefore, would be quite shocking in the New York City of 1906. Playwright-lyricist John Strand and composer Dennis McCarthy have taken such an event and turned it into both a rollicking period farce and a full-scale musical comedy.

The hatless lady is not, however, the focal point of the production. This would be a young man (Daniel Blinkoff) on his wedding day, whose horse consumes the missing headpiece. He must replace it while squeezing in his nuptials as time permits.

Directed with a farcical flourish by Stefan Novinski, “An Italian Straw Hat” follows its characters up street and down alley as Blinkoff’s character presses his quest for a replacement hat while his bride (Erika Whalen), his new father-in-law (Richard Doyle) and the bride’s dim cousin (Matthew Koehler) pursue him.

Various fringe characters pop in and out of the proceedings — Alan Blumenfeld, hilarious both as a household servant and a cuckolded businessman, Patrick Kerr as the deaf Uncle Fez (so called, apparently, because he wears one), a paranoiac young policeman (Kasey Mahaffy), a domineering baroness (Michelle Duffy) and a scorned lover (Melissa van der Schyff).

Silly as its premise may be, the SCR show succeeds primarily due to its bullet-paced tempo and broad interpretations, with some cast members appearing in dual roles. Scenic transitions are handled equally rapidly by young ensemble members Matthew Bartosch and Jake Wells, who do yeoman duty.

Blinkoff delivers a breathless performance as the harried bridegroom who’s mistaken for several other people, the funniest being a concert singer pressured by Duffy and Damon Kirsche to display his vocal talents. Whalen, always a step or two behind the plot, is delightful.

Whether the scenario makes little or no sense is of scant import here — the payoff is in the performances. Doyle in particular excels as the bride’s irritable father who can’t find comfortable footwear, while Blumenfeld brings the house down in his second-act incarnation.

Maintaining the frantic pace is a small orchestra conducted by musical director Dennis Castellano, positioned behind an upstage scrim curtain. Donna Marquet’s simple scenic designs — whisked on and off stage with vigor by Bartosch and Wells — further illuminate the old-timey atmosphere, as do Shigeru Yaji’s period costumes.

Don’t approach “An Italian Straw Hat” in search of anything deeper than Mack Sennett-style buffoonery. Just relax and enjoy the inspired insanity.

IF YOU GO

WHAT: “An Italian Straw Hat”

WHERE: South Coast Repertory, Segerstrom Stage, 655 Town Center Drive, Costa Mesa.

WHEN: 7:30 or 8 p.m. Tuesdays through Fridays at 7:30 or 8 p.m., 2:30 and 8 p.m. Saturdays 2:30 and 8, 2:30 and 7:30 p.m. Sundays at 2:30 and 7:30 until Oct. 5

COST: $28 to -$62

CALL: (714) 708-5555

TOM TITUS reviews local theater for the Daily Pilot. His reviews appear Thursdays.