Ethics of True Crime Musicals and Plays

Punch is one of many true crime productions that humanizes the criminal. Audiences experience Dunne's remorse for what he has done while also showing its devastating impact. But the show is somewhat unique in how involved the real people are in the production - in fact, Jacob Dunne and James Hodgkinson’s mother even personally took part in Q&A sessions after early performances.

In other true crime examples like the Bonnie & Clyde musical, audiences are exposed to the criminals who felt pulled toward a life of crime by idealistic hopes or soul crushing experiences. In this musical with music by Frank Wildhorn, lyrics by Don Black, and book by Ivan Menchell, Clyde is driven by wanting financial security and Bonnie by a desire to be known. Clyde only becomes a murderer after he is tortured and sexually abused during his time in jail for a robbery. Bonnie is there to get him out and becomes his ride or die as they run from the authorities. At some point, they are on a highway they can’t exit, criminals to the end.

The musical Lizzie is about the famous Lizzie Borden, accused of and widely believed to have murdered her stepmother and father with an axe, despite her acquittal. The grunge/punk music style of this production by Steven Cheslik-deMeyer, Tim Maner, and Alan Stevens Hewitt captures the epitome of female rage and sisterhood. It invites audiences to consider motives like oppression, abuse, and madness while also posing the possibility that she may have been innocent. It gives the character in the age-old rhyme who “gave her mother 40 wacks” much more depth and humanity while the punk rock sound modernizes the story.

Both Bonnie & Clyde and Lizzie focus on crimes that are more historical. Is it the passage of time that makes these stories less shocking to tell on stage today, especially as entertaining or comedic musicals?  

Parade, with music & lyrics by Jason Robert Brown and a book by Alfred Uhry, is a musical based on the true story of Leo Frank. Frank was a Jewish man who was wrongfully convicted of the murder of thirteen-year-old Mary Phagan in 1915. His sentence was commuted due to a lack of concrete evidence but he was ultimately kidnapped from jail and lynched by a mob in Georgia. His case contributed to the revival of the Klu Klux Klan and the founding of the Anti-Defamation League. This musical focuses more on the injustice, antisemitism, and mob violence that occurred in Frank’s case more than the brutality of the two murders it deals with. Ben Platt and Micaela Diamond starred in a recent revival of the musical, and theatre critic Jesse Green noted that its themes felt incredibly relevant to current events, such as the January 6th storming of the capitol. Not to mention the fact that the revival’s first preview had to contend with a neo-Nazi demonstration, proving the show’s themes and dangers are more relevant than ever.

Another piece of true crime theatre that draws attention to the justice system is the play Kenrex based on the remarkable true story of a murder that never resulted in an arrest despite it happening in broad daylight with dozens of witnesses. The murder victim, Ken Rex McElroy was a notorious bully to the town of Skidmore, Missouri. But despite being charged over 20 times for crimes including child molestation, assault, and burglary, McElroy was only convicted once, for the attempted murder of another town resident. He was ultimately shot and killed in front of dozens of people, but no one was ever charged with the murder. Even thirty years later prosecutors and law enforcement named it as one of the most frustrating cases, unable to speak on whether they found the outcome just. Jack Holden and Ed Stambollouian used these unbelievable events to create a groundbreaking one-man performance in Kenrex, begging the question, what does it say about our justice system that a criminal committed numerous crimes without any repercussions? Is vigilantism ever justified?

Does Time Make True Crime Stories Easier to Tell?

We like to subscribe to the idea that time heals all wounds, therefore making it seem that the further in the past a true crime story took place, the easier it will be to adapt into a theatrical production for entertainment purposes. The unsolved murders of Lizzie Borden’s father and stepfather took place in 1892, but does that mean that their stories deserve any less respect and care than say James Hodgkinson, who passed away in 2011? 

Historical stories seem to echo through time and relate to our present-day experiences. The New York Times critic Jesse Green wrote in his review of Parade, which focused on the wrongful conviction and murder of a Jewish man in the early 1900s, that “our historical wounds never really heal over.” That being said, sometimes seriousness and solemn reverence aren’t the best ways to demonstrate the lesson of what a true crime story could teach us. Time can turn historic figures into folklore, perhaps making them more accessible. Regardless, there is a certain gravity to telling any story that is rooted in truth.

Can Comedy and Satire Be Ethical?

Of course, not all true crime theatre are thrillers or dramatic musicals full of ballads. Certain shows approach true crime content with an air of comedy and satire, which can redirect attention from the crime itself toward broader cultural criticism. For example, Chicago is a hit musical based on real murder cases, but it satirizes courtroom antics and sensational journalism that turns defendants into celebrities.

Then there are shows like Dead Outlaw, which is based on the true story of an outlaw whose corpse eventually became a sideshow and prop when nobody came to claim it, and the various people found ways to make money off the dead body. It has beautiful music and lyrics by David Yazbek and Erik Della Penna and explores the rather bizarre, yet true, story that makes audiences think about the sacredness of a person’s remains.

Sometimes the crimes themselves seem absurd, like the trial of Hollywood star Gwyneth Paltrow and Terry Sanderson after a ski collision. Gwyneth Goes Skiing is a lighthearted comedy musical about the trial, which pokes fun at the situation as a whole and addresses the impact of celebrity culture and potential exploitation.

What Makes True Crime Responsible?

True crime theatre is not inherently exploitative, but it does come with great ethical responsibilities. When considering what makes true crime responsible, it may be less about medium or genre and more about content. If a production’s main hook is the shock factor of violence as opposed to the bigger picture subjects of injustice, grief, accountability, prejudice, media, and society at large, the creators might need to consider how mindfully they are handling someone’s story.

All storytelling comes with responsibility and helps shapes our culture. But theatre based on true crime needs to be handled with care and with respect for the real human beings involved, no matter how long ago they may have lived. It may be less about whether true crime should be turned into theatre and more about the responsibility theatre makers show in how these stories are told.

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