THRILL ME – THE LEOPOLD AND LOEB STORY
Waterloo East Theatre
★★
“the twisted true crime core still holds interest”
Fifteen years since its London debut, Stephen Dolginoff’s ‘Thrill Me: The Leopold and Loeb Story’ returns with another dose of murder and manipulation. Like its characters, this true crime musical aims high but the execution doesn’t quite come together.
Inspired by true events, Nathan Leopold seeks parole decades after committing the ‘crime of the century’. Rewind to 1924 Chicago, his toxic bond with Richard Loeb spirals into a twisted mix of love, lust and privilege – until an innocent boy pays the price.
Dolginoff’s book has bold intentions, but the storytelling leans a little too heavily on exposition to build tension effectively. The characters could do with more space to deepen, currently feeling more sketched out than fully inhabited and making it harder to enter their distorted world. As a result, their devilish dynamic never quite earns its extremes and the impact of the final reveal is softened. That said, the twisted true crime core still holds interest.
Dolginoff’s music and lyrics have their bright spots – especially the trading of melodies and the rich harmonies. However other parts of the score feel less distinctive: some stylistic choices don’t quite match the emotion of the scene, and a few songs feel repetitive. Still, there’s a solid foundation.
Gerald Armin’s direction has some thoughtful touches and slick transitions, though the emotional beats don’t always land. The largely static staging and slightly clumsy seduction scenes keep the energy low and the chemistry muted, making the pair’s unusual connection harder to buy. Some pivotal moments like the fire scene could do with more urgency and clarity, and Nathan’s characterisation could use stronger definition. With more movement and sharper emotional focus, the piece could land far more powerfully.
Waterloo East Theatre’s design offers a clear aesthetic, with tiered blocks adding shape (though they don’t all feel essential) and papered surfaces smartly foreshadowing the pair’s future notoriety. Costumes neatly contrast their personalities, and the props feel suitably period. Jonathan Simpson’s lighting shifts place and tone effectively, though the shadowy prison settings hide Nathan’s eyes, making this unreliable narrator a little too inscrutable in places. The sound balance is mostly steady, with the occasional spike when the actors drift too close to each other’s mics.
Rufus Kampa gives a strong all round performance as Richard, pairing confident vocals with narcissistic charm. Jamie Kaye’s singing is a real strength, though a little more light and shade in Nathan’s characterisation would deepen the role. Richard Cunningham’s dual roles as the voice of the parole officer and newsreader add welcome weight and urgency.
This iteration of ‘Thrill Me: The Leopold and Loeb Story’ doesn’t quite live up to its name, but with some tightening it could earn its parole.
THRILL ME – THE LEOPOLD AND LOEB STORY
Waterloo East Theatre
Reviewed on 17th April 2026
by Hannah Bothelton
Photography by Robert Piwko
