Nathan Leopold and Richard Loeb were two young University of Chicago students who, inspired by a toxic cocktail of sexual obsession and misinterpreted Nietzsche, killed a 14-year-old boy in 1924. Their story has fascinated adapters for years, leading to a variety of works, including Alfred Hitchcock's film Rope and John Logan's play Never the Sinner. Now, actor-writer Stephen Dolginoff has adapted the story into a two-character musical, Thrill Me: The Leopold and Loeb Story. On the basis of the production at Bailiwick Rep, he has failed to effectively dramatize the story — it comes across more as a parody than a serious psychosexual thriller.
Some of the plot elements and circumstances surrounding the characters, of course, do remain intact. For example: the fact that Nathan Leopold (Scott Gryder) has a bizarre friendship with Richard Loeb (Eric Martin). Leopold obsessively worships Loeb, despite the fact that Loeb treats him cruelly — or perhaps because of it. Loeb has been reading Nietzsche, and has become convinced that he is the example of a "Superman," someone who can commit whatever crime he wishes and get away with it. He and Leopold make a deal: in return for Leopold's unquestioned help on any crime, Loeb will give Leopold whatever sexual favors he desires. Eventually, arson and burglary lose their thrill, and Loeb bullies, manipulates, and seduces Leopold into committing what should be the perfect murder.
Unfortunately, Dolginoff is not up to the task of adapting this bizarre, fascinating story to the musical stage, and under Lee Peters' direction, it comes across as laughable, not chilling. The lyrics have major problems: many rhymes seem labored and silly, and there are far too many gratingly obvious sexual innuendoes. Additionally, both the script and lyrics contain an overabundance of jarringly contemporary words and concepts, from a reference to "plan B" to the need to "cope" with stressful situations. The intent may be to update the story, but the result is one more stress on an already fragile suspension of disbelief. The music is generally the most effective part of the show — it never falls below the level of inoffensive, there are a few lovely melodies, and Dolginoff writes some gorgeous harmonies for the actors. Otherwise, the script is generally ineffective.
The dramatic flaws might be easier to ignore and forgive if the production was more effective at drawing the audience in, but the final, fatal flaw is that the relationship between the men never seems believable. Though handsome, Martin isn't very seductive — it's unclear why Gryder, as Leopold, would risk his life for him. Despite being initially shaky, Gryder's characterization gradually becomes more believable, but his character's dramatic reversals late in the play are sadly impossible to make convincing. Gryder and Martin have wonderful singing voices, however, and they make beautiful music when singing together.
Yet that isn't enough to save the show, which is why Thrill Me is an interesting idea gone fatally awry.
Thrill Me: The Leopold and Loeb Story runs Aug. 30-Oct. 8 at Bailiwick Repertory Theatre, 1229 W. Belmont Ave., Chicago. Tickets: (773) 883-1090. Website: www.bailiwick.org.