DETROIT, Mich. – Serial killers have been the stuff of comedy—on stage, anyway—since at least “Arsenic and Old Lace” opened on Broadway in 1941, and the stuff of musicals since “Sweeney Todd” (1979).

Put these two together, more or less, and you have A Gentleman’s Guide to Love and Murder, the highly entertaining 2014 Tony Award winner for best musical, whose national tour is at the Fisher Theatre. Based on the same novel that inspired the movie “Kind Hearts and Coronets,” the musical by Robert L. Freedman and Steven Lutvak, tells the story of one Montague (Monty) Navarro, a resourceful, impoverished young man who discovers he’s in line for an earldom and the riches that come with the title.

But there’s just a problem: as with so many lines, there are people standing in the way, eight of his cousins, to be precise. Therefore, our hero, yes hero (he’s adorable) has a job to do, and the ensuing tale is great fun. As Monty inventively works his way toward his goal, playgoers may want to keep a body count.

Remember that the title (of the show) indicates that love shares top billing with murder. Monty may be a serial killer but when it comes to romance—well, he’d probably be a serial lover if he could, but he must make do with just two girlfriends, one of whom he marries but it never slows him down. Another reason, theoretically, to dislike Monty, and yet.

He’s just so darned charming. Kevin Massey plays up the character’s affability, beguiling one and all with a smile that seems to come as naturally as an easygoing manner and handling his songs with aplomb. It’s hard work but Massey never lets on.

Facing a different, uniquely daunting challenge is John Rapson who plays every one of the cousins—men, women, young, old—standing in Monty’s way. That means Rapson also has to sing in a variety of voices (and, with assistance and Velcro, change costumes like crazy), feats he performs impressively.

The two other principals in Darko Tresnjak’s estimable production are Kristen Beth Williams and Kristen Hahn as Monty’s love interests Sibella and Phoebe. As required, both sing in the operetta style reflective of 1909, the period of the original novel. Hahn has a stellar voice and Williams is a fine singer, too.

The songs are often evocative of Gilbert and Sullivan, though rarely as tuneful or witty as those masters’. A standout is “I’ve Decided to Marry You,” a trio involving Massey, Williams and Hahn and a pair of slamming doors.

Alexander Dodge’s scenery and Aaron Rhyne’s projection design are delights. Most of the goings on take place on an ornate early 20^th century-style stage, like a carousel without the horses, with background projections that sometimes become cinematic: a simulated fall from a tower drew applause on opening night, and scene where a man on stage is chased by a swarm of bees on screen is eye-popping.

Strong on story, songs, performers and surroundings, “Gentleman’s Guide” is a killer combination.

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