The Laramie Project: Ten Years Later

Though "The Laramie Project: Ten Years Later" has previously been presented in Los Angeles as a staged reading, and a full production was presented this past spring at Orange County's Chance Theater, this sequel is currently making its L.A. bow in a fully staged rendition.

The effort is astutely produced by the L.A. Gay and Lesbian Center's Jon Imparto, and consummately directed by Ken Sawyer. A sterling 11-member ensemble and Sawyer's inspired staging concepts bring the powerful piece to life in a life-affirming production that's simultaneously thought-provoking, heart-wrenching and filled with hope.

The dual "Laramie Project" docudramas created by Mois�s Kaufman and members of his Tectonic Theater Project-charting the horrifying 1998 murder of gay 21-year old college student Matthew Shepherd in Laramie, Wyoming, at the hands of two savage young men-resulted in riveting theater.

The two works are infused by the sensitivity, intelligence and consummate craft of the Tectonic company. Their original "The Laramie Project" (2000) and its 2009 followup "The Laramie Project: Ten Years Later" yielded a timelessly urgent sociological view of senseless violence and bigotry, while illuminating the bonds of humanity and compassion that can bind us within individual communities, and within the larger community of mankind.

In investigating the heinous 1998 gay bashing and murder, the Tectonic group traveled to Laramie to extensively interview many townspeople. They fastidiously documented the citizens' attitudes and emotions surrounding the tragedy, and the ways in which the community members attempted to make some kind of sense from the atrocity.

These visits resulted in the widely acclaimed and highly influential "The Laramie Project," which was originally performed by the Tectonic ensemble, then released for regional productions. On the occasion of the one-decade milestone of the Shepard murder, the journalist-actors returned to Laramie to explore the after-effects of the tragedy on the local citizens, and the larger implications on society, which culminated in "The Laramie Project: Ten Years Later."

Paul Haitkin, Michael Hanson, Elizabeth Herron, Carl J. Johnson, Che Landon, Ed F. Martin, Ann Noble, Dylan Seaton, Christine Sloane and Paul Witten form the superb ensemble for Sawyer's production. The actors demonstrate a seamless versatility in tackling multiple roles, including some gender-bending turns. The actors brilliantly capture the dignity, human foibles, and most importantly the humanity of the characters, as well as the short-sighted and judgmental views of some. The players skillfully illuminate the rich array of ideas and moods that Kaufman and company incorporated into the piece.

Singer-guitarist Johanna Chase performs atmospheric musical interludes. Appearing at some performances will be swing player Leslie Stevens and understudy Victoria Hoffman.

It's unnecessary to designate standouts amid the altogether marvelous group, but savoring some of the most interesting roles are Martin as Tectonic's chief guru Kaufman and Herron as Matthews' courageous and determined mother Judy Shepard.

Playing the two imprisoned killers on opening night were Michael Hanson as Aaron McKinney and Dylan Seaton as Russell Henderson. These portrayals are at once chilling and surprising, and the characters suitably evoke anger and exasperation. (Interestingly, the actors switch off on these two roles at various performances.)

Besides the inclusion of the killers in the second play, a key theme explored is the enactment of hate crimes legislation, fueled by Judy Shepard's fearless dedication to keeping Matthew's memory alive and ensuring that some positive social change came from her family's grievous loss and Matthew's unfortunate fate.

The play also compellingly reflects on the persistent denial instincts of some members of the community, made worse by a despicably slanted and journalistically corrupt "20/20" documentary, which the play explores in detail. Suggestions were promoted that the killing was motivated by robbery or drug deals or pretty much anything aside from gay bashing, a premise some Laramie residents were eager to embrace.

A salute is due for the simple but evocative production design. Robert Selander's set design and David Burnham's scenic art incorporate telling details of contemporary Middle America. Luke Moyer's lighting is superbly rendered, as are Sawyer's sound effects and Paula Higgins' costumes.

Sawyer's in-the-round conceit, which mingles audience and performers, was an inspired choice in making the production a mix of its original simple conception and a communal experience that proves conducive to shared emotional catharsis.

This powerful production -- one of LAGLC's supreme offerings to date -- deserves a wide and diverse audience.