Moises Kaufman and the members of Tectonic Theater Project took Father Roger's advice to heart when they painstakingly constructed The Laramie Project from more than 200 interviews conducted in the year following Shepard's death. They let the words of Laramie's citizens stand on their own in simple eloquence. The commendable and amazing thing about The Laramie Project is what a balanced viewpoint it maintains amidst the conflicting emotions -- anger, grief, blame, self-righteousness, guilt, justification, and denial -- of such a polarizing situation.
"Laramie is a town defined by an accident," says Jedadiah Schultz, who was a theater student at the University of Wyoming when Shepard was attacked. Schultz plays himself in this production, which makes his comments more immediate and poignant. Residents talk about the town's "live and let live" attitude, although comments by gay members of the community reveal that not everyone shares this philosophy. Father Roger (Kirt Bateman) tells us that when he organized a prayer vigil for Shepard, most of the other religious leaders did not want to become involved.
The play sketches a profile of Shepard from the recollections of people who knew him and then moves chronologically from Shepard's encounter with Russell Henderson and Aaron McKinney in the Fireside bar to the finding of the body, the reactions of the townspeople, the invasion of the media, medical reports on Shepard's condition, the funeral, and Henderson's and McKinney's trials. But simply telling the story would make The Laramie Project no more compelling than a documentary film. The play acquires its power by the dramatic way it structures scenes, often counterpointing monologues against each other. A fine example ends Act I, where young Aaron Kreifels (Jedadiah Schultz), who found Shepard's body; Reggie Fluty (Joyce Cohen), the policewoman sent to investigate and retrieve the body; and Dr. Cantway (Carl Nelson), who cared for Shepard in the hospital emergency room, beautifully interweae a description of not only what occurred but also its emotional impact on them. In moments like these, The Laramie Project truly takes flight.
In less-accomplished hands, The Laramie Project might become flat and unfocused, but Rapier and the actors orchestrate the dramatic tension to give it emotional shape. Each actor has a range of characters to portray, and each person is etched with delicacy and precision.
Randy Rasmussen's simple set -- intersecting painted panels of desert reds and vivid blue sky and a few stools and chairs -- keeps our attention on the action, and Cory Thorell's lighting underlines the emotional arc of the play. Eric Sopanen contributes evocative guitar music.
In its dedication to unearthing positive aspects of this tragedy, The Laramie Project proves itself more than a rehash of brutal and bitter events; it becomes an integral part of the healing process and a catalyst for new awareness.
