The Laramie Project

Reviewed by Holly Bartges

The Theatre Muse wrapped itself around the Littleton High School Theatre Department when kryssi wycoff martin proposed they do Moises Kauffman and the Tectonic Theatre Project’s The Laramie Project. A big bite to chew for kids who were just 7- and 8-years-old when Matthew Shepard, a gay University of Wyoming student met his atrocious death after being beaten and tied to an out of the way fence post nine years ago by Aaron McKinney and Russell Henderson.

The cast of Littleton High School’s production of The Laramie Project.

The Theatre Department presented three performances of The Laramie Project last weekend, knocking the socks off of everyone who attended. These kids committed themselves to wanting more than anything else to make a difference. They did. No question.

Their opening night performance fell on the ninth anniversary of Matt’s senseless death preceded by a candlelight vigil in front of the theatre sponsored by the LHS Gay/Straight Alliance setting the contemplative tone.

I had met with these kids a month before (see Interview) and had fallen in love with them, their determination, their curiosity, their wanting to make a difference, their courage, their willingness to face a dark place none of them had ever been, their intelligence, their talent, and their understanding theatre can make a difference.

Under the perceptive direction of martin, who led them carefully and meticulously through character development, the Theatre Muse snapped her golden fingers transforming these high school students into stunning artists of professional quality.

In jest, following Thursday’s Opening Night’s performance, I had to accuse martin of “fraud.” These weren’t high school students. She hired professional actors to disguise themselves as students because no high school student could possibly attain the level of professionalism these kids did. Well, maybe one or two along the way, but an entire cast?

Yes, a truth, an entire cast and crew rose to that level.

I have seen, over the many years, professional theatres not able to hold a candle to what LHS accomplished last weekend.

After having met with them, chatted with them, laughed with them, I saw into their eyes and knew they were going to grab onto The Laramie Project and fly. Even then I didn’t dare anticipate the miraculous position they attained. They simply blew me away with strength, power and talent that engulfed the 300-seat theatre. When the cast transformed themselves to professional quality artistic storytellers encasing themselves in the minds and bodies of characters twice their age I wanted to melt on the spot.

Fill a large room with teenagers, and if they get the slightest bit bored, they will definitely let you know it. During the entire performance, not a sound could be heard from the audience side of the boards, and students were watching their peers. Only at the very end did sounds of sniffles and soft weeping emerge from the quiet.

martin knew from the outset she couldn’t tackle this script in any traditional manner. She knew she couldn’t expect them to draw on their experiences and emotions. Taking a Brechtian approach with a stylized structure, she led them through numerous improvisations throughout the rehearsal schedule, and the result was sheer total magical magnificence.

Schuyler Burks designed the set comprising of a black curtain in back glistening with glittered stars because Laramie sparkles doesn’t it? In the open country surrounding Laramie, the stars reflect a keen brightness on the small university town. Everyone notices it, as did Matt.

Risers stood before the glittered curtain where the carefully stylized choreographed sequences took place, and three stools stood strategically in front of the risers.

In the beginning they assumed the characters of Moises Kauffman and the Tectonic Theatre Project, explaining how they decided to go to Laramie to interview the people they could and write a play. Some of them were excited, some nervous. Would people talk to them? Would these citizens resent actors from New York intruding on their territory? Interfering in their lives? After being heaved into worldwide attention over a murder no one in Laramie would believe could actually happen. After all, there weren’t many homosexuals in Laramie were there? Not much different than what most communities want to believe. Of course, it was hard on the Laramie citizens, and it was hard on the New York theatre people as well.

The Tectonic Theatre Project conducted over 200 interviews, making six trips from New York to Laramie.

Fifteen students slipped in and out of over 60 characters all playing several different people, having to change hats quickly and frequently. In a nano-second they slid easily into another person’s shoes from New York actors, to townspeople, university students, reporters, ranting ministers, to a nervous minister’s wife, protesters on both sides, bartenders, judges adapting stances, walks, and voices so very new to them.

Poised on the risers, on the stools, together, separate, the direction and positioning spoke directly to the emotions the young actors projected.

The cast members were: Jose Amezola, Rachael Drozda, Maggy Failing, Barret Harper, Aaron Klass, Ben Lee, Clare Rudman, Alison Banowsky, Erica Emmelhainz, Sam Golden, Tim Howard, Andrew Klinger, Brittany Newell, Lexi Warden, and Drew Van Denover.

Golden took on the role of Jedediah Schultz, a student who gave an award-winning audition from Angels In America. His parents refused to attend his audition because of the content. Golden’s face reflected the confusion asking why when they had no problem with his depiction of the murderous Macbeth? He never got an answer.

Newell confidently assumed Rebecca Hillaker’s position as Head of the Theatre Department who eagerly welcomed Kauffman (Klass) setting up contacts. Rebecca had secrets of her own, and Newel embodied them.

Warden took on Romaine Patterson, Matt’s best friend with a strong reflective stance. Warden came to know Romaine through her website and research, and lived in her shoes.

There was room to play between characters and Banowsky and Drozda as Marge Murray, and her daughter Reggie Fluty played off each other as mothers and daughters tend to do. Reggie was the first police officer to arrive at the fence post following the 911 call. With quiet animation Reggie confided why she didn’t have gloves, how and why she had to do what she did, and how she became exposed to Matt’s HIV infection. The two provide some wonderful flippant moments of connection hiding the anxiety between the two. Reggie’s description of what she saw when she arrived on the scene became one of the most disturbing scenarios within the context of the play. Drozda handled the sensitive material with dignity and choked emotion.

In his explanation of what he witnessed that night in the Fireside Lounge with Matt, Russell Henderson (Klinger) and Aaron McKinney (Howard), bartender Matt Galway (Klass), struggled to comprehend, understand, blaming himself for not stepping in, wondering how he could have stepped in, how he could have stopped the madness. Klass provided a deeply honest reflection of Gallway tearing at the heart’s outer edges.

In juxtaposition, Klinger played Russell Henderson and Dennis Shepard. Klinger demonstrated unique forceful talent. He drew carefully the lines in his face to distinguish the difference between hate and forgiveness. An amazing projection, Klinger’s sensitive deeply felt statement by Shepard at Aaron’s trial knocked the wind out of the audience.

And that’s only the tip of the iceberg. Every scene, every word, every move delivered punch-filled shockwaves.

martin, who has taught within the theatre department of Littleton High School for four years understands the minds of her students, understands they need challenge and respond to challenge, understands in these strange and weird times, young minds understand risk, are willing to be stretched to encompass what might seem impossible. There’s a severe lesson here for all educators on all levels. People whether they are five years old or 80 respond to challenge.

During the performances, art students on opposite sides of the stage painted their interpretation of emotions expressed by the cast engulfed in real live characters. Under a striking spotlight, they revealed their finished work at the end under. For Opening Night it was Vince Alfonzo who painted a colorful angel/demon over the fence, and Eric Pung painted poignant hands. On subsequent nights, the artists were Schuyler Burks, Ginny, Connor Jones, and Cotter Melville. The paintings were displayed during a silent auction October 18. Proceeds from the auction will be sent to The Matt Shepard Foundation.

Sound and lights played their own haunting role along side the actors, designed and projected by Ian Dawson and Doran Burks on sound, and Bre Gielissen and Dylan Luke for lights.

The Laramie Project blew wind into everyone’s sails, blew it out, and then blew it back in again. It did what theatre does best: educate, inspire, stretch minds, tickle imaginations, and oh, yes, entertain. Throughout the ordeal, humor flew around at the most unsuspecting moments, because humanity needs humor to cope.

It is unfortunate this production of The Laramie Project could only run for three performances, but these three performances will reverberate for years to come.

Because high schools get left out of most theatre critics’ schedules simply because of time and dynamite competition, perhaps it is time Colorado Backstage expands. High schools deserve visibility for their artistic achievements. The Laramie Project, needless to say, a prime example. So how about a high school student writing reviews for their school productions beginning with Littleton? To the cast and crew of The Laramie Project who wanted social change, you got that, perhaps in ways you will never fully realize. Continued visibility, I can give to you. I would be thrilled to have a student share my Colorado Backstage space.