WELLFLEET — There is a murder and two cops investigate. Is the real estate salesman who showed the victim the apartment in an apparently not safe neighborhood responsible?

Brenda Wither’s new play “The Deer and the Antelope,” which is having its world premiere at Harbor Stage Company, is not a whodunit, although the murder is at its center. It is more about the characters, which she draws with humor and clever dialogue.

However, it is not a cohesive play, but rather a loosely woven set of vignettes, which explores the characters involved.

The play opens with Jonathan Fielding as Beemb, the head cop, giving a speech about crime rates in this unnamed place. Straight-faced but with a note of irony in his voice, Fielding notes that although the crime rate is down, it wasn’t for the more than 200 who were murdered. For them the crime rate was up 100 percent.

Fielding, one of the founders of Harbor Stage, gives a tongue-in-cheek performance. He is all business, but manages to evoke a lot of laughs as he and his cohort, the bumbling detective Riches, try to solve the crime, most of which is done offstage.

Robin Bloodworth portrays Riches with deadpan humor, providing some of the funny moments in this “dark comedy,” as it is billed.

Withers’ play is presented in a series of scenes, which often have little to do with the central concern of examining the roots of random violence, as advance publicity describes it.

That said, there are scenes that are funny and entertaining. But some, such as the one where the two cops are stapling papers, has little to do with moving the play along. Nor does Beemb’s monologue about the hors d’oeuvres his wife served at a party.

In his monologue, Robert Kropf (one of the company’s founders), as the real estate salesman Paulie, touches on responsibility. It is always a delight to watch Kropf. In this scene he examines whether his role of renting the apartment to the victim makes him responsible in the same way he could be considered responsible for slaughtering a cow when he eats a hamburger.

It would be worthwhile if that responsibility could be developed further.

Withers (also a company founder) plays Jamie, who runs the real estate company, with her usual alacrity. Just her wide-eyed facial expressions can excite a laugh.

Emily Nash is Mel, Paulie’s girlfriend, a bit of a boob who flees from him when she suspects he may be the murderer. Gathering evidence from his room, she takes it to the police for DNA matching, and the scene between her and Riches is very amusing, as is the erratic cellphone conversation Kelly (Winslow Corbett), the eventual murder victim, has with her mother in the beginning of the play. Corbett also plays Kelly’s very serious sister Lea, mourning her sister and the senselessness of the murder.

The actors do a fine job moving this one-hour play along. And it often is good comedy. But it seems there are too many extraneous scenes, and more can be said about violence and personal responsibility, which is a worthwhile theme. Or it could focus more on parody.

Sara Walsh provides a rudimentary set design of plywood doors that open to bring out various tables and chairs to define the scenes of the real estate office and the police station.

Withers’ dialogue is smart and witty. However, as with many new plays, “Deer and the Antelope” needs rewrites to give it a cohesive vision with a meaningful focus.