They were fancy-pants teenage dandies of the 1920s with slicked-back hair, tailored suits, aristocratic lineages and little use for people who didn't quickly amuse or impress them.

Previously having spent many an hour watching killers on trial in northeastern Oklahoma courtrooms, this reviewer understands that it's easy to conclude most such people are remarkably alike.

The huge majority lead lives of desperation, sometimes quiet, sometimes not. Abuse of drugs or alcohol is pretty much always involved. Rage, revenge and robbery often play into the situation, but randomness rarely does. Their victims are family, friends or acquaintances.

Leopold and Loeb, however, were unique. They were as different when they committed the "crime of the century" in 1924 as they would be today, and it's why their case still fascinates.

Here's to director Jenny Jackson and some outstanding actors who presented their tale Thursday night in Heller Theater's production of "Never the Sinner," a crackling good work that brought to life this story in vividly violent, creepy and humorous detail.

It's proven increasingly difficult to find superb drama in community theater the last couple of years, but this one qualifies. Jackson follows up her wonderful production of "The Unexpected Man" for Heller last season with this slick effort, featuring two of this year's best performances.

Playwright John Logan (also a screenwriter with credits including "Gladiator" and "Any Given Sunday") researched his subject for about 20 years and created a stunning theatrical piece in 1985's "Never the Sinner."

Logan brilliantly uses a flashback, flashforward and flashsideways style that will remind the audience of "Pulp Fiction" in introducing the key players and moments in this show.

Leopold is 19, Loeb is 18 and both are college graduates with superior intellects. They've been raised in Chicago high society, they're preparing for their futures and they're bored by their surroundings. Loeb is fascinated by criminal activity; Leopold is fascinated by Loeb, sexually speaking.

The fascination grows, from Leopold's willingness to participate in lesser crimes in exchange for favors of the flesh from Loeb to the pair blithely discussing committing a murder as an intellectual test, a philosophical exercise.

Making the decision to murder 14-year-old Bobby Franks was the same as deciding whether or not to have pie after dinner, Leopold calmly tells a doctor following their confessions. Another doctor plays word-association with Loeb.

"Murder," the doctor says unemotionally. "Newspapers," Loeb responds with a self-satisfied smirk.

Jarrod Kopp returns to the local theater scene as Leopold, and Bryan Reed portrays Loeb in efforts that are astoundingly authentic, with a chemistry that's terribly believable.

The first act of this play, during which the central crime plays out, is fantastic and the tension palpable. The tiny dimensions of Heller Theater play perfectly here, making it seem as if audience members are on the sofa in Loeb's living room, inside the police interrogation room and standing outside a car watching a young boy die.

The show is inherently theatrical, with the remaining cast members sitting on stage throughout the play (there are 12 chairs, as if peers sitting in judgment). A couple of tables and chairs and a wall prove malleable enough to create all kinds of situations.

Never is the tension greater than when the boys' wistful search for a murder candidate ends. There are a couple of chairs set up to represent a vehicle. Loeb is in the backseat, inviting the young boy inside to sit up front next to Leopold, who holds an imaginary steering wheel.

Reed is frighteningly savage as he springs into action -- Franks was stabbed with a chisel and suffocated -- and Kopp is convincing as he frets and cries uncontrollably through the brief attack, continuing to drive away from public view, and then finally finding the words for a complete sentence.

"Just like swatting a fly," Kopp says, still breathing hard.

Reed and Kopp dominated the action throughout this two-hour production, but there are fine performances all around here. Craig Walter and Mark Albert are both solid, if unspectacular, in respectively portraying defense attorney Clarence Darrow (who attempts to argue that society failed these boys) and State's Attorney Robert Crowe (who's seeking a death sentence).

Three reporters -- David Gray, Veronica Combs and Tony Clyde -- accurately portray the sensationalistic journalism of the 1920s in Chicago, shouting out headlines about confessions, rewards and rumors. Gray is best here, loudly announcing the news as if he should be hawking newspapers on a street corner.

There was a major flaw with a flickering lighting system for this opening night, which likely will be repaired for future performances. But it was never so bothersome as to not enjoy one of this theater season's best efforts.

"Never the Sinner," which contains adult language and situations, continues with 8 p.m. performances Thursday-Saturday at Heller Theater, 5328 S. Wheeling Ave. Tickets are $5-$7 and may be reserved by calling 746-5065.

Michael Smith 581-8344
michael.smith@tulsaworld.com