BWW Reviews: NEVER THE SINNER - Compelling Courtroom Drama

The true story of murderous teens Nathan Leopold and Richard Loeb has seen many iterations over the years, from thinly veiled derivatives like ROPE, COMPULSION or MURDER BY NUMBERS to direct accounts of their actions such as the musical THRILL ME, or the subject of this review, John Logan's NEVER THE SINNER. Produced in 1985, it was the result of many years of historical study and was also Logan's first major play.

Director Sam Holsworth has put together a mostly game ensemble to enact the tale, though I believe opening night excitement created a few issues in the form of actors rushing their deliveries and stepping on each other's lines. This will undoubtedly abate as the run continues, but it was notable in this particular performance. Unlike some scripts which we might be thankful for actors delivering at a break-neck pace, this is a well-written play, and deserves the time for both actor and audience to savor it.

As studiously intelligent Nathan Leopold, Joshua Valencia is prim and erudite, exuding privilege and sophistication in his portrayal...he is convincing as the son of a wealthy Chicago family. As Richard Loeb, the object of Leopold's misguided affections, Alan E. Garcia is charismatic and charming, and disguises the monster within so that when it finally reveals itself, the audience is both fascinated and repulsed.

Together, they are an agreeable pair, but what I felt was lacking in their relationship was the spell factor. Leopold's expressions of love for his counterpart consist mainly of nervous laughter, coy glances during awkward dance lessons and smiling coquettishly, but I didn't see the depth of wonder and desire for Loeb. It seemed more like puppy love than a carnal lust that would eventually lead to murder. Conversely, I didn't see Loeb's awareness in his manipulation of Leopold...the sense that, through sex, he could convince him to do anything for him, which ultimately is why he's attracted to Leopold in return; the illusion he has power over him...that illusion is shattered in a delicious exchange in Act II. Throughout, there is much talk of their love for one another...at one point in the courtroom proceedings, psychiatrist Dr. White (Jessica Askew) tells the court that the boys have engaged in furious passion together, but that undercurrent is not really evident...we're simply told it exists. The symbiotic nature of their relationship could use more definition.

As state attorney Robert Crowe, Robin Hallsmith does a fine job embodying a man whose ambitions threaten to outweigh his sense of humanity, and the scenes between him and William Hamer as famed country lawyer Clarence Darrow are the most effective in the show. Courtroom dramas are overly-familiar territory to any audience, but through Logan's well-wrought dialogue and Hallsmith and Hamer's performances, the proceedings are immediate and interesting.

Ensemble players Jessica Askew, Bianca Raso and Hisam Goueli portray a variety of roles ranging from caricature news reporters to court officials, doctors and witnesses. Of note are Raso's jazz-baby witness Germaine and Goueli's Sgt. Gortland.

Costume design by J. Allbritton easily evokes the backdrop of 1924 Chicago, from the gray and red prep-school attire of Leopold & Loeb to the button suspenders and short, wide necktie of Clarence Darrow to Germaine's cloche hat and flapper dress, Allbritton's eye is always discerning and period-appropriate.

Lighting design by Shannon Claire Miller and Sound design by Brian Brooks are effective, and greatly underscore the various moods and locales of the story.

Scenic elements are sparse, but get the job done in supporting the action. My only criticism would be projected newspaper headlines and other images being visible on one of the actors as he sat at his desk, and sometimes when he stood.

Overall, it is a worthy production, and at a time when Seattle fringe theatre is working to rebuild its credibility and former glory, efforts such as this increase my optimism for the future.

NEVER THE SINNER plays Thursday to Saturday through June 20th. Theatre 4 @ TPS, Seattle Center. Tickets available through Brown Paper Tickets.com

Photo credit: Shannon Miller

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