The Laramie Project

‘The Laramie Project’ by Moises Kaufman is being presented by Curtin’s Performance Studies and The Hayman Theatre Company. The performances are in the Hayman Theatre Upstairs, Curtin University Building 102, Bentley at 8.00pm nightly until 5^th March.

  

         In October 1998, in the small, redneck American town of Laramie, 21-years-old Matt Shepard was found tortured and tied to a buck fence. As the investigation into his death was being carried out, it became clear that Matt was gay and that two local men had carried out the severe beating which ultimately led to his death.

         Were the community horrified? Not at all, even the minister, Rev Fred Phelps (Verity Softly), stated ‘God has an agreement with the Devil for such people to be sent to Hell’. The general tolerance of this gay murder resulted in representatives (Holly Garvey) of a New York Theatre Troupe being sent to the town several times over the next two years, to gather and compile 200 interviews and recollections from a cross-section of Laramie’s citizens. The statements taken were filled with hackneyed and tired excuses of why this homosexual should have been killed. The intolerance and hatred towards gays was rife, as the false and pious soul-searching took place.

           The sheriff (Laura Grigson) who cut the boy loose, after 19 hours in the cold night air, was visibly shaken. The police chief (Matthew Randall) received abusive emails for showing his compassionate feelings at a news conference.

          In their interviews, the local yokel (Michael Collins), barmaid, Marje (Kirsty Marillier) and her friend Alison (Brittany Young) started to expose cracks in the hard image of the town. Gradually it is revealed that Matthew wasn’t the only gay, indeed there were many in this town. People who had remained silent about their feelings in support of gays gradually came forward. Gays and lesbians throughout the States joined in marches in support of having the laws changed.

         By the interval the audience were all commenting upon how moved they were. At the end of the play, just after Matt’s Dad’s (Charles Wu) speech and address to the murderer (Kyle Kash-Gregory), many paper tissues were starting to appear.

 

Amazingly, no legislative changes have been made to the anti-discrimination laws in Wyoming.

 

I wasn’t a fan of this play, having previously found it bitty and even tedious. Here, in the intimate atmosphere of this small theatre, the cast communicated and connected well with the audience. You quickly felt as though you were actually there at the time.

The ensemble cast was excellent, however ‘The Laramie Project’ is basically a prime example of Brechtism. With 65 characters being played by a handful of actors, the personality changes have to be rapid and clear. One can employ hats, clothes and glasses to show some of the character change, but as Brecht said, it is the movements and actions that create the character not the other way around. There were a few actors who really succeeded in this Brecht approach; they were Charles Wu, Michael Collins, Kirsty Marillier and Verity Softly.

After a few minutes of sluggish start, first night nerves, the overall teamwork was magnificent.

 

Thanks to stage manager Violette Ayad and her assistants Hayley Daffin and Rebecca Miller for keeping the entrances and exits slick.

The set was simply two buck fences on grass, but with the skills of Karen Cook – one of Perth’s best and most underrated lighting designers – her subtle use of colours and perfect light levels, a wonderful atmosphere was created. Lighting smoothly operated by Emma Sullivan.

Emma D’Orazio and David Cronin were responsible for the understated sound and quality, punchy audio-visuals. The many excellent costumes and props were the responsibility of Jade Unwin and Shelby Shaw.

The director Michael McCall, big and brusque as he is, shows once again that he has a brilliant touch when it comes to tenderness. Strongly recommended.