Accused murderer Luigi Mangione takes center stage in San Francisco on June 13. But no, this is not his murder trial. Instead, it’s “Luigi the Musical,” a campy, satirical play turning a real-life murder case into a stage show. The production premieres at the Taylor Street Theatre, with at least four additional performances lined up.
According to the official website, more performances are scheduled to take place soon. News of the production brought condemnation from many, asking why anyone would glorify a murder suspect.
Who’s behind the show?
Nova Bradford and Arielle Johnson wrote “Luigi the Musical,” with original music by Johnson. The show’s site describes the story as following Mangione — “the alleged corporate assassin turned accidental folk hero” — as he navigates friendship, justice and the absurdity of viral fame.
Mangione, 26, stands accused of killing UnitedHealthcare CEO Brian Thompson last December.
While his trial date has yet to be determined, the musical includes characters inspired by other high-profile figures Mangione reportedly encountered in jail, such as former FTX CEO Sam Bankman-Fried and music mogul Sean “Diddy” Combs.
A long tradition of crime on stage
True crime has long lit up Broadway. “Chicago,” the hit musical about two women on trial for murder in the 1920s, proved that courtroom drama can captivate theater audiences.
Even fictional works like “Sweeney Todd,” which tells the dark tale of a barber who turns his customers into meat pies, show how crime and scandal fuel compelling stage stories. Now, “Luigi the Musical” joins that long line, blending real-life scandal with dark comedy for a modern audience.
Despite its humor, the musical has sparked backlash, particularly given the relatively recent events it portrays. Many critics are also saying it crosses a moral line by turning a murder case into entertainment.
Yet ticket demand is strong. According to the site, every show is already sold out.
Director defends the approach
“We’re not valorizing any of these characters, and we’re also not trivializing any of their actions or alleged actions,” director Nova Bradford told the San Francisco Chronicle. Bradford said the team wanted to explore how society projects meaning onto figures like Mangione without minimizing the gravity of the real events.
