Asolo Rep's dark comedy 'The Unfriend' explores the pitfalls of casual invitations

Steven Moffat’s “The Unfriend” is having its American premiere on the Asolo Rep stage. His black comedy revolves around one disturbing question: Can too much politeness get you killed?

The show begins with a multicolored, multimedia psychedelic spectacle. Then the lightshow fades, revealing a cruise ship deck. Peter (Brian Wallace) and Debbie (Carla Noack) are a middle-aged, middle-class British couple enjoying a transatlantic holiday.

 Elsa (Sally Wingert), a brash but weirdly charismatic American widow, chats them up — and asks for their home address. They politely give it to her. If you’re ever in London, pop in for a visit. They don’t imagine she’ll ever take them up on it.

Back home, they deal with a non-communicative teen who lives in his room playing computer games and their sulking teenaged daughter Rosie (Ashley Raymond) who feels hurt if you look at her cross-eyed. That’s their home’s default setting. Then Elsa calls — and turns everything upside down. She’s flying into London — and will pop in for a surprise visit — soon.

Debbie gets an even bigger surprise when she looks Elsa up on Google. According to reliable “true crime” websites, “Elsa Jean Krakowski” is a serial killer who’s “unalived” a long string of husbands, relatives and associates.

Nobody can prove anything, so she’s free as a bird. Now what? Logically, Debbie and Peter should call Elsa back immediately — and tell her she’s no longer welcome. But that would be impolite — not to mention unfriendly. So, they don’t. Elsa arrives like a whirlwind. And quickly makes herself at home.

Moffat’s comedy cooks up the classic Monty Python recipe: Start off with an absurd, unrealistic, ridiculous situation. Fill it with totally realistic characters — who take their mad world totally seriously. The playwright’s credits include the BBC’s rebooted “Doctor Who,” “Dracula” and “Sherlock.” He knows the riotous recipe well.

Asolo Rep Producing Artistic Director Peter Rothstein directs this Pythonesque farce with clockwork precision. What starts as a comedy of manners morphs into a moral panic — and mortal peril. The characters are realistic; their world is absurd. It’s hilarious.

The cast delivers sharp comic timing and characterization. Wingert’s Elsa is paradoxically irritating and charming. She speaks with the nasal register of Phyllis Diller — yet somehow always gets her way. Wallace’s Peter is stressed-out and uptight. When he’s in trouble, he speaks before he thinks — and doubles his trouble. Noack’s Debbie is the only adult in the room. Her reasoning is iron-clad. Peter politely listens — and immediately surrenders to Elsa’s illogic.

Asolo creative team brings mad world to life

Harris’ Alex holes up in his womb/room playing video games. In his brief appearances, he has the vocabulary of a caveman. Raymond’s Rosie is sulking, shouting and argumentative — a victim with a capital “V.”

Mark Benninghofen’s nameless Neighbor is so accommodating he’s invisible — not to mention boring. Kudos also to Hoonmin Luke Choi and Arusi Santi — especially in a laugh-out-loud scene that’s both scatological and eschatological.

Online, Elsa has a lurid reputation. In person, Elsa turns out to be a positive influence. Turns out, the woman has plenty of horse sense and psychological insight. She magically gets Alex out of his room and into a jogging suit — and gets Rosie to stop feeling sorry for herself. 

Such benevolence seems uncharacteristic for a psycho killer. But — to quote Debbie — she might be a kind of “Murder Poppins.” Her idea of making the world a better place might include eliminating irritating people.

The Asolo Rep’s creative team brings Moffat’s mad world to life. Kate Sutton Johnson’s sets are lovingly grounded and realistic. Fabian Fidel Aguilar’s costumes are cleverly believable signifiers of class, character and culture. 

In the scene breaks, Greg Emetaz’ surreal projections remind you of the show’s delusional architecture. (His imagery includes flying toilets and a cruise ship with wings.)

So, is Elsa a serial killer or not? The show stacks up an orgy of evidence against her but leaves a shadow of a doubt. The moral of the story?

Don’t give your address to strangers. Even if they’re nice.

And especially if they’re unhinged.