First and foremost?
The Laramie Project: 10 Years Later is a phenomenal script. Written as a follow-up to Tectonic Theater’s docudrama The Laramie Project (2000), the sequel’s premise is an exploration of how Laramie, Wyoming has changed a decade after the brutal murder of Matthew Shepard.
Referred to on the theater’s site as an epilogue, the printed work Perrette (and co) performed on Sunday is the end result of five members of Tectonic — founder Moisés Kaufman, accompanied by Andy Paris, Leigh Fondakowski, Greg Pierotti and Stephen Belber — who sought out the same people they interviewed ten years ago for The Laramie Project and spoke with them again, along with new members of the community.
A portion of these accounts has been edited into a 10 minute clip posted on Tectonic Theater’s YouTube channel. (Link provided for those whom might be interested in subscribing…)
Otherwise, I’ve embedded it here:
In short, The Laramie Project: 10 Years Later posits regional questions, such as “Has Matthew’s murder had a lasting impact on [their] community?” and “How has the town changed as a result of this event?”
Moreover, the play addresses salient topics regarding the nation’s current social climate, through queries such as “What does life in Laramie tell us about life in America 10 years later?”
Insofar as my promise to post images from Sunday’s reading at Hollywood United Methodist Church, I encountered a bit of a roadblock on that venture—namely, several signs with the statement “There is no photography or recording (video or audio) allowed at this performance” that had been affixed throughout the structure, replete with a sentiment of “Thank you!”
In a different setting, for a different cause, and with a different cast–namely, one in which I don’t have such a formidable level of respect, let alone a personal relationship of any sort?
Truth be told, I probably would have considered it just another “Don’t So Delicious To Do.”
Nonetheless, in this case?
A group shot (courtesy of Richard Settle) will have to suffice, please.&.thanks:
A review of the performance awaits
:: ‘Beneath the Cut’ ::