'Luigi: The Musical' Eyes National Tour

A satirical production about accused murderer Luigi Mangione and his high-profile jailmates is drawing sold-out crowds in San Francisco. ‘Luigi: The Musical’ packed audiences during their limited run in the 49-seat Taylor Street Theater.

The production satirizes three real figures – Mangione, music mogul Sean ‘Diddy’ Combs, and former crypto CEO Sam Bankman-Fried – based on the true fact that all three are currently detained in the same Brooklyn jail.

The 90-minute show blends surreal comedy with musical theater. The plot riffs on Mangione’s alleged murder of a UnitedHealthcare executive, incorporating exaggerated accounts of his McDonald’s hash brown stop, which led to his arrest. A ballad marks that moment.

Other scenes feature a tap dance number with Diddy and Bankman-Fried, along with a fictional romance between the two.

Despite its comic lens, the creators say the musical explores a broader loss of faith in systems. “These three men represent trust breakdowns in health care, entertainment, and finance,” said Nova Bradford, the show’s head writer and director. “We’re not commenting on their crimes as much as asking why so many people are fascinated by them.”

Bradford co-wrote the script with comedians Arielle Johnson, André Margatini, and Caleb Zeringue. Their concept began after tracking media coverage of the trio’s shared incarceration. The show was initially planned as a short-run fringe performance but has grown popular enough to warrant an extended engagement and future expansions.

The team is in talks for stagings in New York and Los Angeles.

Bradford says they are editing the work in response to audience engagement, which includes post-show conversations and direct feedback. They also hope to expand the show with a second act.

Although named after Mangione, the musical does not take a position on his guilt or innocence. The creators say that responses vary significantly depending on viewers’ personal perspectives.

“People walk away with different takeaways, and we’re okay with that,” said Zeringue. “That’s what makes it effective.”

The musical has drawn a younger, less traditional theater crowd, although initial critical reaction was mixed. The San Francisco Chronicle offered a lukewarm review but acknowledged the show’s cultural resonance.

The creators emphasize that the work is still evolving. “We want people to leave with more questions than they brought,” said Bradford. “That signals we’ve done our job.”