“Macabaret,” at the Bell Center at 47 Fourth St. in Dover, was one of those shows that manages to mix the gory with the silly, the bloody with the hilarious.

One of the reasons I like going to The Bell Center is that, no matter what show you’re going to see, you know you’re going to have a good time. Be it a children’s show (such as their upcoming “The Trial of the Big Bad Wolf,” by Autumn Allen) or an operatic cabaret under the brilliant hand of Melissa Manseau—the theater offers a wide variety of musical experiences, many of which you just won’t find anywhere else.

“Macabaret” is a rarely produced piece, and for the life of me, I don’t know why. There’s something in it for everyone. Several guests brought their young children, and people with walkers and wheelchairs also came to enjoy the fun.

It’s difficult to describe a cabaret production. After all, there’s no thread of story that brings it all together—just a theme that the characters stick to. We had Helena Handbasket (Kelli Leigh-Anne Connors, who also served as choreographer), Paul Bearer (Todd Fernald), Phil Graves (Robb Ross) and Maude Lynn (Diane Arabian). Together, they performed a number of comic yet grisly pieces.

First and foremost, I need to give notice to the scenic artist (Denise McDonough) and scenic designer (Robb Ross). Architecturally, it was sort of like “The Addams Family” home crossed with Vlad the Impaler’s digs. As soon as we saw the set, we knew we were in for a good time. The success of any show, after all, is in the details.

Kelli Leigh-Anne Connors was a one-woman dynamo. She has the voice of a goddess, the body of a centerfold and the energy of the Energizer Bunny. There is grace and dignity in her acting, yet a believable degree of comedy—a nice trick, if you can pull it off. When she’s onstage, it’s very hard to pull your eyes away. The energy she emanates alone is like a magnet, seducing us, drawing us in, like the proverbial moth to a flame—we know we’ll get burned, but we just have to get as close as possible. The song “Helena’s Obsession” is perfect proof.

Robb Ross was the male counterpart of Connors, and seemed to be the unofficial narrator of the piece. Each movement was so full of life (even though he played a zombie). His voice is an instrument worthy of the Met and then some. It washes over you with a nearly hypnotic effect. Even when he was talking about digging up graves or cannibalism, somehow, you were still on his side. You still wanted to follow him wherever he went. (It reminded me of “The Sopranos.” You know they’re bad guys, but you wind up rooting for them anyway.) Ross’s talent to entertain is so thorough, I’d watch him read the phone book. Somehow, he would make it as entertaining as a script by Beckett or O’Neill.

Todd Fernald, a newbie to the show, brought a bouncy, fresh innocence to the performance, especially in the number “Dr. Jekyll and Mr. Hide.” The comedy was much needed and appreciated. Diane Arabian’s voice hung in the air hauntingly until well after each note was over.