[NEohioPAL] Berko review: THRILL ME: THE LEOPOLD LOEB STORY

[Roy Berko]

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Unnerving musical about the crime of the century at convergence continuum

Roy Berko
(Member, American Theatre Critics Association, Cleveland Critics Circle)

Musicals have come from various sources.  There has been the tale of an
illiterate flower girl who was transformed into a proper woman (MY FAIR
LADY), a Biblical Jewish youth who became a leader in Egypt (JOSEPH AND THE
AMAZING TECHNICOLOR DREAMCOAT), a prince who kept searching for his corner
of the sky until he realized that it was right where he was (PIPPIN), and a
big nosed sassy New York girl who transformed herself into a famous
vaudeville star (FUNNY GIRL).

Stephen Dolginoff thought that the story of two wealthy genius teenagers,
who in 1924 abducted and killed a young boy, would make for a musical
evening of theatre.  Yes, he has transformed Chicago wunderkinds, Nathan
Leopold and Richard Loeb, and their kidnapping and carrying out a gruesome
murder, into a musical.

Don’t get the idea that Dolginoff envisioned a joyful, song-filled show
with fabulous dance numbers or pretty love duets. He didn’t.  In THRILL
ME:  THE LEOPOLD LOEB STORY, a version of which is on stage at
convergence-continuum, what he produced was a script, to be played by two
actors, with haunting music, that tells the tale, or his version of the
morbid story.

Nathan Leopold and Richard Loeb came from affluent backgrounds.  They were
both brilliant.  Loeb, who was obsessed with crime, and was the youngest
person ever to graduate from The University of Michigan, was purported to
have an IQ of over 200 (average is 100).  A student of Nietzsche, he
perceived the duo to be Übermenschen (supermen) and believed that legal
obligations didn’t apply to those like he and Nate, because of their
exceptional intelligence.

They boys were lovers, supposedly with the charismatic Loeb holding the
power to withhold affection and manipulate the shy, nerdy Leopold.  Richard
made a deal with Nathan that in return for his help in conducting some
crimes, he will grant Nate the sexual favors he desires.  Eventually, the
petty crimes turn into a murder plot.

The duo spent a long time planning the crime, though the musical almost
makes it look like it was a spur of the moment event.  According to
Leopold’s book, LIFE PLUS 99 YEARS, the original target of the attack was
unavailable when he was taken to a dental appointment by his family’s
chauffer, so they substituted Bobby Franks at the last minute.  Franks,
Loeb’s second cousin, knew the pair, so getting him into the murder car was
probably easy.

Stories vary as to who actually killed the youth, but, he was definitely
murdered.  Also up for question, was the exact motivation.  Causation
theories include their desire to pull off the perfect crime, that even
though they were rich there was still a need for money, the thrill of the
chase, as a sexual stimulant, and that they were privileged kids with
nothing else to do.

The perfect crime was foiled when Leopold dropped his glasses near the
place where Frank’s body was hidden.  The hinges on the glasses were unique
and were only were only used on three pair of frames.  The police, through
a series of maneuvers, tracked the glasses to Nathan and then got
confessions.

A judicial proceeding, rather than a jury trial, found the famous Clarence
Darrow as counsel for the defense.  The lawyer’s summation centered on the
evils of capital punishment as a means of retribution, rather than
rehabilitation.  Leopold and Loeb were found guilty, and each sentenced to
ninety-nine years, plus life.

Loeb was killed by a fellow inmate in 1936.  Leopold, who had an exemplary
record in prison, including developing a new penitentiary education system,
volunteered to participate in a malaria drug experiment, was released  from
jail in 1938.  He went on to live a productive life in Puerto Rico, where
he wrote CHECKLIST OF BIRDS OF PUERTO RICO AND THE VIRGIN ISLANDS,
a definitive ornithology book.

Dolginoff’s script adds and omits information about the tale, and should be
taken as a story based on the boys and their crime, not as a documentary.
It compresses time, spends a great deal of time on the homosexual aspects
of the duos lives, omits the police interrogation that settled the case,
mentions Loeb’s getting killed but avoids Leopold’s life after being
released, and does not give the actors the words needed to illustrate their
super intelligence.  In spite of these flaws, the story development and the
production are emotionally charged.

There are no memorable songs, though some of the titles illustrate the
serious undertones including, “A Written Contract,” “Thrill Me,”
“Superior,” and “Ransom Note.”

The lyrics tend to be overly dependent upon a labored rhyme scheme and the
writer seems to be more obsessed with the sexual aspects of the story than
the murder itself.  There is also a contemporary sound to the spoken words
and song lyrics, which remove the material from its era.

Con-con’s production, under the focused direction of Clyde Simon, is well
paced and the concepts nicely developed.  Use of era an correct typewriter,
long handled telephones and clothing help enhance convergence continuum’s
first musical endeavor.

The cast is generally convincing.  Both are better actors then singers, but
that weakness is tempered by the fact that Dolginoff’s music is mostly
talk-sing based, not requiring great singing voices, though, at times, both
fell into the trap of following the rhyme pattern rather than the meaning
pattern.

Zac Hudak as Richard Loeb, with evil glinting in his maniacal eyes,
generally displayed the cocky attitude of a person who knows how to
manipulate the love-starved Leopold.
Mike Majer mirrors the desperation for attention, the need for affection,
and the nerdy bird-watching fascination of the easily manipulated Leopold.

Though Anthony Ruggiero’s piano accompaniment was well played, without
additional instruments, the musical sound was somewhat hollow.

Con-cons 50 seat theatre, with its runway stage, brings the action up close
and personal, enhancing the chilling effects of the action.

*Capsule Judgement:  The Leopold-Loeb story has retained its fascination,
even after all these years.  Though THRILL ME: THE LEOPOLD & LOEB STORY has
a somewhat flawed script and musical score, convergence continuum’s
production is very  well worth seeing.  It should grasp and hold the
attention of the audience.
*
The dark musical THRILL ME:  THE LEOPOLD AND LOEB STORY
runs through June 8 at 8 pm Thursdays, Fridays and Saturdays at
convergence-continuum’s artistic home, The Liminis, at 2438 Scranton Rd. in
Cleveland’s Tremont neighborhood.  For information and reservations call
216-687-0074.

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