Anywhere, USA
By MICHAEL SMITH World Entertainment Writer 06/10/02
A minimal set characterizes "The Laramie Project." Here (left to right) Lisa Combs, Marnie Ducato, Richard Slemaker, and Mary Forester play reporters as they interview Don Miller as the Wyoming Governor. JOE IVERSON / Tulsa World
Matthew Shepard wasn't an extraordinary person, and Laramie, Wyoming, isn't a particularly exceptional place. But what happened to Shepard in Laramie is the extraordinary event, a savage beating that ended the life of a young college student simply because he was gay.
That's the point: This could happen anywhere. But when Shepard's crumpled body was found in October 1998, lashed to a split-rail fence, the world's attention was focused on Laramie. The town became more than a place on a map.
As one character put it at the Thursday night opening performance of Theater Club's powerful and triumphant production of "The Laramie Project" at the Nightingale Theater, the town became "a noun, a definition" for people across the nation.
"Like Waco," the young man tells us.
As Oklahomans, many of us know all too well about the country's focus being directed on our state due to tragedy. And, as these things go, the next step is generally a search for answers.
Playwright Moises Kaufman and his Tectonic Theater Project in New York went to Laramie for answers. Why did this happen? What kind of place is Laramie? Who was Matthew? Who are the two men accused of beating him to death? Where does that kind of hatred and rage come from?
In more than 200 interviews conducted by the theater group's members, speaking with friends and family of Shepard's, friends and family of the killers, law enforcement, medical personnel and area residents from all walks of life, they found every emotion/opinion one might expect. Anger as well as compassion. Clarity, but much more confusion. Acceptance and ignorance. People coming together, and people ready to tear others apart. Journalists receive their usual rating from these folks, mingling way down on the scale with lawyers and used-car salesmen.
It's important to remember that these are the actual reactions of the people who were there. Like a journalist shaping a story with information that will enlighten readers and using the most telling quotes from those involved to give the article appropriate color, so does Kaufman and his troupe in shaping this play.
The result is an amazing tapestry of voices -- reminiscent of Theater Club's 2001 standout, "The Vagina Monologues" -- that's beautifully structured by director Vern Stefanic into a living, breathing theater event, a three-hour epic that provides great insight into what's underneath the surface of Anywhere, USA.
There's the local clergy of different faiths and very different views. There's the kid who, while bicycling, found Matthew. There's the bartender who saw Matthew talking to his killers in the bar, and now he's quite proud of his stature as a "key witness" in the case. There's the doctor who breaks down while on national TV, relating information from a statement by Shepard's parents that people should "go home, give your kids a hug and don't let a day go by without telling them that you love them."
The doctor, memorably played by the superb Larry Latham, tells of the many messages he received as a result of that interview. There was overwhelming sympathy, but the one that sticks with him asked if he cries on TV "for all of your patients, or just the faggots."
Latham is far from the only standout here. In fact, despite the fact that the 14 actors are often seated and line the rear of the minimalist set and black box theater at all times -- listening and casually changing their costumes and appearance to assist with narration duties and portrayal of more than 60 characters -- it's hard to notice anyone else is in the room every time Greg Hermann takes the stage.
A young man with limitless talent, Hermann brilliantly portrays the bicyclist, takes on a couple of accents and is a master of body language. He is most memorable as a University of Wyoming student who won a theater scholarship based on his performance of a piece from the play "Angels in America." It's his proudest moment, and it's the only performance of his that his parents have ever missed, due to their homophobia.
Annette Rosenheck and Don Miller must also be singled out for their riveting character creations, but it's only appropriate to name off the rest of this superb ensemble cast: Lisa Combs, Marnie Ducato, Rick Fortner, Kurt Harris, Liz Masters, Tara Treiber, Cameron Cummings, Mary Forester, Richard Slemaker and Angi Ullrich.
Also of note is Fortner's creation of incidental music for the play, as well as Kris Adair's creative lighting design and the video design by Mark Crowl and Corey Douglas, so effective in illustrating the TV interview action.
It's debatable as to whether any real answers were found as a result of the project's efforts. But Stefanic and his crew seem to have to the appropriate appreciation and understanding of its aims, as summed up in a production note in the play's program.
"We want to, first and foremost, thank Dennis and Judy Shepard for sharing their son with the world, so that we might learn a better way to love one another. Thank you to all of the non-fictional characters of our play and all the residents of Laramie, Wyoming. It is never easy to be held up as an example. And, of course, thank you, Matt. We may not have known you, but because of you, we are closer to knowing ourselves."
Theater Club's production of "The Laramie Project" continues with 8 p.m. performances Thursday-Saturday as well as June 20-22. All shows are at the Nightingale Theater, 1416 E. Fourth St., and $8 tickets may be reserved by calling 857-9154.
Michael Smith, World entertainment writer, can be reached at 581-8474 or via e-mail at michael.smith@tulsaworld.com.