This is another show about a sordid and depressing subject (the famous Leopold and Loeb murder), but it has more in common with Assassins than Floyd Collins or Parade, in that it’s more interested in psychology than moralizing platitudes, and thus interesting enough to justify its subject matter. The show’s book is admittedly flawed: the twist ending, and Nathan Leopold’s supposed motivation for his actions, while creative, are extremely far-fetched. But the show offers bountiful compensations in the glowering beauty of its distinctive-sounding score. The Nietzschean narcissism of Robert Loeb and the twisted love the show ascribes to Nathan Leopold are beautifully and horrifyingly realized in such numbers as the passionate ballad “Everybody Wants Richard”, the perversely beautiful “Nothing Like a Fire”, the fevered title-song, and one of the most disturbing songs in musical-theater history, “Roadster”. This show was not built for popular success, but as a piece of theatrical caviar in the post-Sondheim avant-garde tradition, it’s one of the more intriguing items of its decade.