Customer Reviews

Thrill Me: The Leopold & Loeb Musical (1997 Studio Cast)

5 star:		(4)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

I did not get an opportunity to see this production of Thrill Me in NYC durring the Summer of 2003, but I purchased the cast recording because I had heard good things about the show. The subject of the material is quite dark which also comes across in the orchestrations.

It's not the easiest recording to listen to initially, far from it. I've had easier times getting into what are commonly considered difficult shows (ie Passion). But after forcing myself to get through 3-4 listenings I began to discover the layers and beauty of the score.

This recording is not for the average theater fan, those of you who think Mama Mia and Wicked are the best things to ever happen to the Broadway Stage. But people who want musicals to tell a rich textured story through rich textured music, may want to examine this recording.

WOW! A musical version of the Leopold & Loeb Murder case. I thought it sounded unusual! It IS unusual and VERY GOOD. The songs are Sexy, thought-provoking, even scary. The singers are great, and the story is tantalizingly disturbing. Steven Dolginoff's music and lyrics are really fantastic. This is a must have for theatre lovers!

As a resident of NYC and an avid theater goer I try to find new and interesting shows to attend versus the over-commercialized spectacles that sometimes find their way to the Broadway stage. I was thrilled by the performances of Matthew S. Morris and particularly Christopher Totten. His performance was riveting and I love the fact that aspects of this performance live on on this cast recording.

After reading the wonderful review in the New York Times, I had the pleasure of seeing THRILL ME twice during it's run Off Broadway at the York Theatre in NYC, the first time starring Doug Keeger and Matt Bauer; the second time with Keeger and composer Dolginoff (who stepped into the role of Leopold a few weeks into the run.) It had one of the most haunting, dramatic and beautiful scores that I have ever heard. It may not be for everyone because it is very dark. But songs like ROADSTER, A WRITTEN CONTRACT, WAY TOO FAR and LIFE PLUS 99 YEARS have lyrics that advance the plot skillfully and melodies that really stick with you. I own this recording (from an earlier off-off broadway incarnation) but I also just bought the much better (and more complete) Off Broadway/York Theatre Version, which has Dolginoff and Keeger singing the roles--they have more depth and the piano sounds much fuller on the new version. So, although Amazon doesn't seem to have it yet (as of March 23, 2006), I reccommend the new 2006 recording. And if you get a chance, see a production!

Please note, this is the 1997 Concept album.

On April 20th, 2004, the Orignal New York Cast Recording CD of THRILL ME: THE LEOPOLD & LOEB STORY as performed at the 2003 NYC Midtown International Theatre Festival was released on Original Cast Records, featuring the voices of Christopher Totten and Matthew S. Morris as directed by Martin Charnin ("Annie"). This new version is vastly different.

"Thrill Me" isn't your typical musical, and it won't win everybody's heart. But for that you can blame the subject matter (the heartless murder committed by young geniuses Leopold and Loeb), and not the music. Dolginoff's music seems entirely appropriate to the dark subject matter; it never ignores the true details of the story -- including the leads' romantic relationship -- and it entwines nicely with the story. At times the piece is downright creepy, as with the songs "Nothing Like a Fire," sung as a romantic ballad as the leads commit arson, and "Sports Car," as they lure their unsuspecting prey. This isn't "Thoroughly Modern Millie," to be sure.

There are only two voices on this CD: the performers who are enacting the parts of Leopold and Loeb. That makes things seem oddly cloistered, as though the events are unfolding independent of the rest of the world. A weird effect.

The heavy reliance on synthesizer instead of an orchestra may be one of the CD's biggest downfalls, but that may have had to do with budget more than intent. The lyrics can also be a bit too much at time. In fact, sometimes they are bad. But overall, a worthy piece.

For another view of what Dolginoff can do, see "Journey to the Center of the Earth."

I wasn't a large fan of this recording. I felt that the lyrics felt forced and tried to beat you over the head with the fact that the two were law students (rhyming words like 'quid pro quo' and 'provision'; sometimes this works, but I found it here to be wordy for the sake of wordiness). And while the melodies and orchestration may sound fine on a different recording, on here they sound basic, almost synthesized (the piano reminded me of computer programs that you could plunk notes into and the computer would play it out in piano, but it sounded fake). I was not a fan of either Christopher Totten's or Matthew Morris's voice.

I do like the idea for the show, and I have found myself humming some of the melodies, and even singing certain parts of songs ("I've come to find everybody wants Richard" is particularly catchy). However, I believe there is still some work to be done on the show, perhaps using an orchestra with more than just a piano and reworking the songs a bit. It has its moments and its fans, but unfortunately I'm not one of them.

The score is just Ok. I can't imagine that somebody would want to do a sore out of the Leopold Loeb murder case.