REVIEW: New Line Theatre's Production of LOVE KILLS Makes its Regional Premiere

I make it a point to seek out productions by New Line Theatre because I know I'll see something edgy and original, and with the regional premiere of Kyle Jarrow's provocative work Love Kills they've, once again, fulfilled that desire. Jarrow's musical meditation on the relationship between Charlie Starkweather and Caril Fugate, who embarked on a killing spree in Nebraska during the late 1950's, is an intriguing piece that succeeds in confounding expectations. The question as to whether or not Caril Fugate actually participated in the murders is one of the issues raised by Jarrow, and if there's any truth to be gleaned from the facts presented in this dramatization, then New Line's compelling production will provide you with the opportunity to judge for yourself.

The story unfolds from opposing jail cells on either side of the stage as Caril and Charlie are both being prodded into admitting their complicity. But Caril is comforted by the sheriff's wife Gertrude, who comes to believe that she may have been coerced by Starkweather. At the same time, the sheriff is attempting to draw a confession from Charlie any way that he can, and since no one cares about the fate of a serial killer, he's not above beating one out of him. But, it's the depth of feeling between Caril and Charlie that's at the heart of this interpretation, and while it may seem a bit amoral to romanticize this subject, people kill in the name of love all the time.

Taylor Pietz delivers a strong performance as Caril, a confused young girl who may have simply let her attraction to Charlie get the better of her. Pietz ably conveys Caril's initial protectiveness and ambivalence toward any type of admission by putting up a tough front. Her best work is done with Alison Helmer, who's very good as Gertrude Karnopp. Helmer and Pietz duet on the lilting lullaby "Float", and the neatly interlaced medley "Don't Falter/When I Could Feel". Helmer impresses throughout, but she's especially engaging when Gertrude reveals her own youthful indiscretions to Caril.

Philip Leveling acquits himself well dramatically as Charlie, and he manages to bring out the boyish qualities inherent in this teenaged assassin. However, some of the more hard edged vocal material is a stretch for his range. Although he does harmonize sweetly with Pietz, especially on the doo-wop leitmotif "Love Will Never Die". Zachary Allen Farmer is a model of restraint as Merle, the sheriff who's determined to get this messy case tied up before the lawyers arrive. But, he reveals the heart beneath the badge when he acquiesces to his wife's desire to help Caril escape the electric chair. Farmer's vocals are exceptional as always, and his runs through "Someday" and "Hard Man" had me wishing his character had more to sing about.

Director Scott Miller keeps the action clear and focused throughout, and the pace is kept fairly brisk, which is important since this runs without intermission, and clocks in at a little over an hour and a half. Frank Bradley's set design is effectively simple and, forgive me, starkly appointed. Kenneth Zinkl's lighting scheme is appropriately moody for this dark piece. Darren Hansen's costumes and Trish Bakula's props add just the right period touch without drawing too much attention. Mike Renard (guitar/conductor), Dave Hall (bass), and Mike Schurk (percussion) also contribute with sparkling accompaniment.

Miller, who's also the artistic director of New Line, likes to color outside the lines, and his determination here reveals his passion for bringing fresh and challenging new musicals to the St. Louis region. This might be considered a risky choice, but I'm glad he and the company were willing to take it on, because I might not have gotten the chance to experience it otherwise.

Jarrow's work is not without its flaws, the ballads in the score certainly fare better than the rock numbers, and it goes without saying that I'd never want to see this concept turn into a cottage industry, but it's an interesting idea nonetheless.

If you're looking for something outside the norm, then you should definitely check out New Line's production of Love Kills, playing through October 25, 2009 at the Washington University South Campus Theatre.