What do you get when you combine an unfinished Charles Dickens novel, a music hall of the 1890s, a play within a play, broad (very broad) humor, a number of rather bland songs and a “mystery” that is left to the audience to decide?

It’s likely only Rupert Holmes’ 1985 musical, “The Mystery of Edwin Drood,” completely fits that description.

It’s no surprise, then, that “Drood” isn’t produced often by community theaters. It’s difficult to stage—actors must be able to play actors who play characters—and at times it’s difficult for an audience to navigate.

Then there’s the matter of letting theatergoers decide “whodunit,” which can cause more confusion than clarity.

Despite all this, Foothill Music Theatre director Milissa Carey and her creative team deserve credit for even attempting “Drood.” At times it’s not all that captivating, but the set, the cast and Carey’s fast pacing help keep the audience entertained.

The show is smartly staged in Foothill’s intimate Lohman Theatre (despite the program’s mention that it’s in the much larger Smithwick Theatre). Scenic designer Carlos Aceves uses up every inch of floor space by putting the proscenium up two low steps. This allows most of the action to take place everywhere on the stage floor. Scenic artist Eric Lind also does a fine job of creating the aura of the 1890s with his soft-focus illustrations that cover the stage’s parameter.

Foothill’s show also benefits from the fine voices of several of the actors as well as a half-dozen decent songs and a few production numbers. (Surprisingly, there are also a number of funny, pun-based jokes.)

Still, the action gets tedious more frequently than it should, especially when the audience is left in the dark about what the devil is going on onstage. That’s mostly Holmes’ fault because he attempted to cram far too much into the show’s book.

But instead of dwelling on shortcomings, consider the marvelous characterizations of Heather Orth as the once-promiscuous, drug-addicted Princess Puffer, who likely knows much more than she reveals, and Rachelle Abbey as the sultry and mysterious Helena Landless of Ceylon.

These two are well supported by Benjamin Ball as the supposedly villainous John Jasper whom the audience is encouraged to relentlessly boo and hiss at every time he steps onstage. Equally credible are John Mannion as the jowly, somewhat pedantic “The Chairman,” who acts as the play’s narrator, and Brenna Sammon as the beauteous damsel in distress Rosa Bud.

It’s hard to categorize Chloe Angst, who plays Drood with a rather unusual combination of vaudeville comedian and dashing hero. When she changes to the character of Dick Datchery, she wears what has to be the ugliest costume and fakest beard in the show.

But most of costume designer Julie Engelbrecht’s outfits fit perfectly into the Victorian era, none more so than the sumptuous full gown she fashions for Orth as Princess Puffer. Sammon’s delicate off-white gown with intricate lace is another fine choice. Ditto for the rather dashing suit Angst wears as Drood.

The best voice in the cast belongs to Orth; close seconds are Sammon and Angst, who blend their voices in the rather unusual two-soprano duet, “Perfect Strangers.” Other excellent vocal performances are turned in by Ball and Mannion in “Both Sides of the Coin.”

Of the rest of the songs, the best are Sammon’s sweet solo “Moonfall,” which is reprised in Act 2 when she is joined by Ball, and Orth’s renditions of the “Garden Path to Hell” and “Puffer’s Revelation” at play’s end.

Two group numbers stand out as well: “No Good Can Come from Bad” and “Don’t Quit While You’re Ahead,” with the entire company joining in on “Quit.”

It’s difficult to overlook pint-sized Linda Piccone in any show, and although her role as Durdles (the alcoholic gravedigger of the Catacombs) is not a big one, she makes the most of her time onstage. Her gangly assistant, whom she calls the Deputy, is played for laughs (which he got) by rubber-faced Dan Cardenas.

Zack Goller stands out as Bazzard, especially when he gets excited at the chance to sing a solo (“Never the Luck”). But perhaps his most memorable two seconds of fame come when he portrays Jasper’s waiter at a Christmas Eve dinner. Goller receives one of the biggest laughs of the night just by walking in to announce, “The goose is cooked!”

So, yes, there is some comedy in “Drood.” An example is when Drood says he has plans to construct buildings in Cairo. When asked what material he’ll build them from, he says he’ll “use bricks from the Egyptian pyramids.” Another light moment came at the Christmas dinner where Jasper is serving port wine as a storm brews outdoors. Drinking down the wine, Drood jokes, “Any port in a storm!”

Music director Amanda Ku and her hidden group of six musicians keep up their end of this literary curiosity, despite some of the score being lackluster at best. Both Pamela Gray’s lighting and Andrew Heller’s sound work efficiently.

Even with “Drood’s” tedious portions, Foothill’s production has enough positive attributes to recommend it, not least of which is the fact that local theatergoers seldom get an opportunity to see it.

Just be prepared for a lot of character familiarity (the cast invades the audience frequently to chat and tease), some jokes that will make you groan, and an occasional kerfuffle. It’s all part of the “Drood” mystique.

Email Joanne Engelhardt at joanneengelhardt@comcast.net

Theater

What: “The Mystery of Edwin Drood”

Produced by: Foothill College Theatre Arts Department

Where: Lohman Theatre at Foothill College, 12345 El Monte Road, Los Altos Hills.

When: 7:30 p.m. Thursdays; 8 p.m. Fridays and Saturdays; and 2 p.m. Sunday matinee

Through: March 15

Tickets:  $12-$36; $3 parking permit; 650-949-7360 or www.foothill.edu/theatre