When will actors learn that it's better to find someone, anyone, to direct their show rather than do it themselves? History tells us that unless your last name is Allen (as in Woody), Branagh, or Welles, you will probably not pull it off. (Even they don't get it right all of the time--Frankenstein, anyone?) Four fine dramatic performers have started their run at the Access Theater in John Nassivera's Making a Killing. But with one of the four doing double duty as player and show-helmer, the show is rudderless, and the cast is left to keep on course as best they can.

Killing begins on the opening night of E.G. Nelson's new play. His agent, Marge Decker, is in her West Side office, fielding calls about the troubled play and its absent writer. Several states away and several hours later, Nelson's producer Marty and actress wife Estelle have just arrived from the theater at a cottage in the snowy wilds of Vermont.

It's reported that Nelson has jumped off the George Washington Bridge and is missing and presumed dead. But this is no surprise to Marty and Estelle, who've planned the whole thing

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