Thrill Me: The Leopold & Loeb Story

Hudson Backstage Theatre
6539 Santa Monica Blvd., Hollywood
Friday-Saturday 8 p.m., Sun. 3 & 7 p.m.
Through March 16
Tickets: $34-38
www.havoktheatre.com

Viewers interested in fact-based dramatizations about the infamous teenage killers Leopold and Loeb are in for a treat. Two plays depicting this legendary 1929 crime story have coincidentally opened a week apart, and only a block apart, on Santa Monica Boulevard. (See following review.) Thrill Me is a Drama Desk-nominated 2003 chamber musical from off-Broadway, making its L.A. debut.

The production is graced by the compelling vision and astute artistry of director Nick DeGruccio and a dynamite cast of two. Playing the younger sociopath, Nathan Leopold, is Stewart W. Calhoun, and Alex Schemmer portrays seductive Richard Loeb, the ringleader in this destructive codependent bond. Or is he? In librettist-songwriter Stephen Dolginoff intriguing portrait of sexuality mixed with pathology, the unanswered questions are more intriguing than any pat or easy answers. What drove these monsters to do what they did? What psychological games did they play with one another, and why? When crimes like arson and thievery bore the spoiled Chicago rich kids, they up the ante, creating a pact to kill an innocent young boy—chosen more or less randomly. Guilt never enters their psyches following the heinous crimes, though fear and mistrust ultimately surface.

Past dramatizations of this true story haven’s emphasized the erotic nature of this relationship. Dolginoff’s play brings it front and center, and DeGruccio pulls no punches in depicting chemistry between the boys that’s as passionate as it is deadly. His eloquent staging seethes with erotic energy and dramatic intensity, greatly aided by the contributions of the design team: Tom Buderwitz (set), Steven Young (lighting), Rachel Myers (costumes) and Drew Dalzell (sound). The actors make credible humans—if hardly empathetic protagonists—out of the two bad seeds. Golden-voiced Calhoun offers a mesmerizing characterization—a mix of boyish neediness and calculated ruthlessness. Schemmer brilliantly captures Loeb’s steely narcissism and cruelty, as well as the emotional moment of retribution when he finally realizes his misdeeds have costly consequences.

Dolginoff’s haunting and smoothly integrated score is a mix of Sondheim-style recitative and melody-infused book-musical conventions. It’s expertly served here by music director-accompanist Michael Paternostro. Producer Chad Borden and artistic director DeGruccio, of the new Havok Theatre Company, have launched their venture in high-flying style. —Les Spindle

Dickie & Babe: The Truth About Leopold & Loeb

Blank Theatre Company
2nd Stage Theatre
6500 Santa Monica Blvd., Hollywood
Thursday-Saturday 8 p.m., Sunday 2 p.m.
Through March 16
Tickets: $22-28
www.theblank.com

One of two current stage productions exploring the fascinating true story of teenage murderers Richard Loeb (Dickie) and Nathan Leopold (Babe) in 1929 Chicago (see preceding review), writer-director Daniel Henning’s world-premiere docudrama offers an intriguing historical recap of one of the most notorious crimes of the 20th century. A solid ensemble cast and Henning’s fastidious research and strict adherence to factual information make for a gripping two-and-a-half hours.

Though there are no apparent startling revelations here, except possibly a surprising statement of remorse from the heretofore seemingly guiltless Loeb, Henning’s play generates much food-for-thought, prompting us to ponder the intricacies of a pathologic codependent relationship and the elements of a society that can breed bad seeds as heinous as these two. How did two prodigiously intelligent youths from wealthy families, with seemingly wonderful futures, take such a wrong turn—senselessly and brutally taking an innocent young boy’s life, while ruining their own lives and those of their loved ones? What compelled them to escape into bizarre fantasy worlds and to parlay those romanticized reveries into dangerous and destructive behavior? It’s clearly established that there was a gay bond between the youths, but it appeared to be more a vehicle of manipulation and control than the tender sharing of emotions.

The two lead players excel. Nick Niven gives a hyperkinetic portrayal, depicting the charismatic Dickie as an always “on” extrovert, continually sarcastic and self-satisfied, yet subject to instantaneous mood swings. He seems to have never outgrown his childhood. It’s an effective approach to the role, as the handsome cad’s shifts from seductive to creepy create strong dramatic tension. As the more introspective and subdued—but ever-calculating—Babe, Aaron Himelstein is quietly frightening; there’s a coldness at play in his portrayal that makes Babe’s participation in the misdeeds seem quite plausible. A sterling ensemble cast playing multiple roles includes Charlie Schlatter, Weston Blakesley, Vicki Lewis, Michael Urie (of TV’s Ugly Betty), J. Richey Nash and Caye Clark. A fine production design, including projections of authentic photographs and superb sound effects, gives a compelling you-are-there feel. Henning’s thoughtful look at a shameful and haunting chapter in crime history is a worthy companion to Stephen Dolginoff’s memorable musical drama, Thrill Me. —L.S.