The Laramie Project
at The New School of Northern Virginia

Reviewed on March 14, 2015

Jack Posey
McLean High School
Submitted for publication to Washington Post - Fairfax

As a human race, when we are met with tragedy, it would seem that art has consistently been the means by which we can find opportunity for progress in the ruins of disaster -- hope and love in the face of hatred and grief. With their production of The Laramie Project, the players at The New School of Northern Virginia brought to life a play that serves as an outstanding manifestation of this principle.

When Matthew Shepard, a gay college student, was kidnapped, tied to a fence, viciously attacked, and left for dead in an open field in Laramie, Wyoming, in 1998, there was chaos within the town, as well as uproars of contentious ideological dialogue across the nation. Seeing this as an opportunity for good and wishing to provide a holistic documentary report on the attack and its aftermath, the Tectonic Theatre Project of New York City (led by Moisés Kaufman) spent two years compiling interviews with Laramie locals into a play, The Laramie Project that opened in 2000. Though controversial to some, the play serves as an important piece of journalism and a challenging work of art that leads its audience to examine its own values.

This production, mounted in a very intimate space, kept its technical elements appropriately sparse, allowing the performances of the actors and the text to serve as the centers of focus. Actors utilized their own chairs and a wooden table to create scenes, sitting in a wide semi-circle when not in the main action. Above the playing space was a projection of a slideshow of images pertaining to the plot, flanked on each side by 90's style TV's that displayed titles for new scenes throughout the show. Another lovely component that aided the shows cohesion was the inclusion of skilled violinist Ian Ajmani playing "Amazing Grace," serving as an anthem of hope during inspiring monologues, and retaining a dark poignancy when played to accompany the Westboro Baptist Church's congregation at an anti-gay rally.

Because The Laramie Project has a dauntingly large number of characters, the 21 actors at The New School took on the massive challenge of playing anywhere from two to six roles each. Vince Vilasi provided the flipsides of dark drama and comic relief in monologues as Russell Henderson, one of Shepard's murderers, and Matt Galloway, a slick bartender, displaying his range as a performer. Ross Rubin and Alex Anchell created likable characters that gave color to the town as auto shop worker Doc O'Connor and student Jedediah Schultz, respectively. Hallie Schlaffer kept the audience riveted as Reggie Fluty, a policewoman who recounted the distressing tale of rescuing Matthew, just as Kamryn Leoncavallo drew in her audience with nuance and realism when describing the condition of the town. Finally, Brian Connor delivered a heartrending monologue as Matthew Shepard's grieving father, giving a powerful portrait of the pain the crime brought to those who knew Matthew.

The cast and crew of The New School shared a powerful and important story with their audiences in The Laramie Project.

Sarah Santoro
Stone Bridge High School
Submitted for publication to Washington Post - Fairfax

In every person there is the possibility for incredible compassion and for appalling hatred. It is the specific choices that we as individuals make, not the circumstances that surround us, that determine which one will define us. In a moving production of The Laramie Project, the cast and crew of The New School of Northern Virginia told the true story of the violence and hatred, but also love perseverance and hope, that rocked a Wyoming town.

In 1998 Matthew Shepard, a 20 year old gay student at the University of Wyoming, was killed. His brutal murder captured the attention of the country and the world and sparked a reevaluation of how hate crimes are dealt with. Wanting to tell the story, Moises Kaufman and The Tectonic Theater Project traveled to Laramie, Wyoming where the murder occurred to find out more details and discover how it had affected the town. The 2000 play, The Laramie Project, is a compilation of stories from interviewed citizens, news reports, and the journals of the Project members.

The actors of The New School of Northern Virginia played scores of roles, skillfully differentiating between them. Even with 21 actors portraying over 80 roles, they seamlessly transitioned from one persona to another.

Vince Vilasi gave a notable performance as the bartender Matt Galloway, one of the last people to see Shepard. He was personable, at ease, and natural, but also portrayed the conflict that he tormented himself about as to whether he could have done anything to stop the murder.

Ross Rubin's Doc O'Connor was the quintessential blunt cabbie with his archetypal accent and brusque mannerisms. However, he didn't simplify the role into a caricature; rather, despite his bravado, he showed genuine emotion and sincerity as a man grappling with reconciling preconceived notions with the reality of who Matt actually was. Rubin demonstrated his range with his portrayal of the Westboro Baptist Church leader Reverend Fred Phelps, practically foaming at the mouth with fanatic, and demented intensity in a truly terrifying performance.

Kamryn Leoncavallo masterfully cultivated distinct characters from the older, bitter Lucy to the young, feisty Romaine, imbuing each with a natural believability and showcasing an impressive range.

Lowell Weissman powerfully portrayed one of Shepard's murderers, Aaron McKinney. His confession and sentencing were nuanced and intense, creating some of the most compelling scenes.

Although some actors had difficulty conveying different ages, they treated the complex material respectfully, showing the humanity and depth of each character.

The spare set consisting of chairs and tables was simple, stripped-down, and well-suited to the up-close, personal nature of the performance. The actors moved their own set pieces and transitioned smoothly between scenes, allowing the acting to be the main focus.

A screen also alluded to scene changes with pictures that, while at times seemed a bit disparate, added a powerful touch. Especially when showing clips from actual news coverage of the event, the projections reminded the audience that these events happened to real people, not simply actors on a stage, heightening the gravity and weight of the production.

With authenticity and sincerity, the cast of The Laramie Project delivered nuanced, distinctive performances. Understated and effective tech magnified the strong emotions of the powerful piece. The students of The New School of Northern Virginia told the poignant, emotional story of Matthew Shepard in a simple production that explored the complexity of human nature and the incredible capacity both for hate and for love.

Lydia Gompper
George Mason High School
Submitted for publication to Connection

Twenty-one teenage actors filed slowly - solemnly - onto an intimate stage to sit in a quiet semi-circle, accompanied by the croon of a single violin. A few of them stood, frozen and facing the audience, until the first monologue began, introducing the tale of Matthew Shepard, a gay college student who was brutally murdered by two Laramie residents in 1998.

So commenced The New School of Northern Virginia's production of "The Laramie Project," a play created in 2000 by Moisés Kaufman and the members of the Tectonic Theater Company. The show is an amalgamation of over two hundred interviews, journal entries, and media reports, sewn together into a mosaic depicting the tragedy of Shepard's death, as well as its effect on the Laramie community. The New School's twenty-one performers together portrayed over sixty roles, delivering a stunning, hard-hitting exposé on small American communities, religion, the media, and, of course, the pervasiveness of hate.

The show had very few props or set pieces, but this only served to augment the honest nature of the play's content. A single projector was used to show a sequence of photographs overhead, including various shots of Matthew Shepard himself, which helped to drive home the veracity of the production.

Fantastic contributions were brought to the stage by a wide variety of cast members. Lowell Weissman, a junior, impressed in several roles, although his shining moment was his confession as Aaron McKinney, one of the two perpetrators in the Shepard case. His stiffly nervous posture and stilted speaking made the moment feel so very real. The other of the two murderers, Russell Henderson, was beautifully performed by senior Vince Vilasi, who took my breath away as he struggled to force out a plea of "guilty" in return for his own life. Vilasi also wowed as bartender Matt Galloway, one of the last people to see Matthew Shepard before his death.

Senior Ross Rubin was incredible as Doc O'Connor, the candid, oddly sage townie, and later as the infamous Reverend Fred Phelps, who protested with his congregation at Shepard's funeral. Rubin's various accents were consistent and distinct, and his physicality - from the laid-back stance of O'Connor to the sharp anger of Phelps - was on point. The manic gleam in his eye during the funeral scene was enough to legitimately terrify the audience.

Senior Caitlin Kelly, junior Kamryn Leoncavallo, and sophomore Hallie Schlaffer all gave memorable performances. Kelly impressed both as gay professor Cathleen Connolly and feminist Zubaida Ula. She particularly stood out with a monologue performed during a candlelight vigil, when she spoke passionately about the necessity of taking communal responsibility for the crime committed. Leoncavallo was charming and thought-provoking both as Shepard's friend Romaine and as Lucy Thompson, who questioned why only Shepard's death got such attention, while other deaths went relatively unnoticed. Lastly, Schlaffer gave one of the most emotional performances of the night as Reggie Fluty, the police officer who was called to the scene on the day Matt Shepard was found. Her eyes looked truly haunted. Other stand-outs include Chris Drucker as the Baptist minister, Alex Anchell as Jedidiah Schultz, and Kyle Welty as Aaron Kreifels.

The New School of Northern Virginia created a thoroughly excellent production. With a topic that means so much to so many, it might have been easy for the show to lose its way, or seem overly forced. But the New School did not have that struggle. The emotions flowed naturally, and many audience members left the room wiping tears from their eyes.

Stephen Coakley
Tuscarora High School
Submitted for publication to Patch.com - Fairfax

A single spotlight illuminates the stage. A violinist appears from the light and begins to play a sombre, yet familiar, melody. Twenty actors enter the stage for a night that will question humanity and the abilities of mankind. The Laramie Project begins.

Recently performed by The New School of Northern Virginia, The Laramie Project is a docudrama by Moises Kauffman and is based off the homophobic and murderous hate crime of Matthew Sheppard in Laramie, Wyoming. Originally produced by The Tectonic Theater Project, the play is conducted through a series of interviews, journal entries, and newscasts. Actors are required to play numerous roles, giving each differentiating intentions, a feat for any performer.

The cast did a commendable job of bringing the thought-provking piece to life through the intense memorization and recitation of haunting monologues. Standout performer, Ross Rubin's embodiment of Doc O'Connor and Reverend Fred Phelps were contrasting and had realistic approaches. His ability to adjust his physicality and vocal inflections made for the most captivating performance of the evening. Lili Birrell's portrayal of Sherry Aanenson was also a highlight, as her honest monologues were continuously enjoyable. Ian Ajmani opened and closed the production with his beautiful and passionate violin playing. Ajmani's ability to solo as well as accompany the actors was admirable. While certain actors got into the habit of slightly over acting, the performances were overall grounded.

The cast often came together to form various ensembles throughout the play, ranging from determined news reporters to rowdy bar-goers. All ensemble moments consistently boosted the energy of a scene, which at times read underwhelming. Overall, the cast's collaboration with one another allowed for memorable stage pictures to be created.

Technical elements, while simplistic in nature, did the job of highlighting the actors. Ross Rubin's acute lighting designs, often featuring a single spotlight, created an eerie shadow effect on certain actors, furthering the melancholy aura of the production. The set, which featured well-painted tables and chairs, was very portable and did not distract from the actors.

The company of The Laramie Project at The New School of Northern Virginia tackled the heavy content matter with poise and professionalism. The depiction of real people with real emotions can be an intimidating task, but the cast and crew exhibited ideals of hope and compassion, undoubtably paying homage to Matthew Sheppard and his family.

Mallory Astrow
West Springfield High School
Submitted for publication to Fairfax County Times

"If you're going to tell this story, you have to tell it correct." This is the singular condition brought forth by Father Roger Schmidt on the murder of Matt Shepard and its impact on the world. Father Schmidt's request was fulfilled in The New School of Northern Virginia's production of "The Laramie Project".

Based completely on true events and actual recounts from people involved with and affected by the incident, "The Laramie Project" was written by Moisés Kaufman in collaboration with The Tectonic Theater Project. The docudrama first premiered in 2000 at The Ricketson Theatre. A companion piece entitled "The Laramie Project: Ten Years Later" was created in 2008 based on follow-up interviews from the people of Laramie which debuted internationally on the eleventh anniversary of Matt Shepard's death – October 12, 2009.

The New School's production thrived on the cohesiveness of the ensemble. In this heavily company-based show, each actor easily toggled from one character to another which tied the whole performance together neatly.

Every individual supported the continuation of the story being told with a few actors standing out and boosting the show to another level. Vince Vilasi's portrayal of Matt Galloway had an effervescent ease that highlighted his talent beautifully. Vilasi's monologues, both figuratively and literally, shined a spotlight on his ability to speak naturally through a character. As somewhat of a contrast, Hallie Schlaffer received a very emotionally demanding undertaking when given the opportunity to portray Reggie Fluty. Schlaffer, a sophomore, did a commendable job at tapping into the intricate feelings behind such a difficult character. It was clear as she delivered her pieces that she could visualize the gruesome events unfold before her and she remained truthful when conveying her reaction to her potentially fatal diagnosis.

The entire ensemble worked together fluidly, however several actors created moments for themselves to shine. Brian Conner constantly excelled in his portrayals of both Father Roger Schmidt and Dennis Shepard. He made clear character choices and stuck to them whilst making one character distinguishable from the other. Along the same lines, Ross Rubin successfully took the potentially caricature-like role of Doc O'Connor and committed to it fully to create a believable character. Rubin's vocal and physical choices were incredibly impressive and really brought his character to life. Chris Drucker, too, brought realism to two potentially over the top characters which served as complete contrasts to one another showing off Drucker's full range of ability. Finally, Kamryn Leoncavallo consistently dove into her roles and tapped into vastly different parts of herself to convey such artful character choices which clearly distinguished one part from another. Despite some distracting noises and movements when actors weren't the center of attention, the ensemble as a whole was incredibly engaged and committed to the overall success of the performance.

An intimate black box space does not very well lend itself to a spectacle of tech work, however, the effort put in did show and highlighted the situations beautifully. The projections used throughout the production to set a scene or add visual stimulus was incredibly successful at creating an atmosphere befitting the scene. Along with that, despite a few shadowed faces, the general lighting design added quite nicely to the show's atmosphere as a whole.

As the story of Matthew Shepard and the aftermath of his unfortunate fate unfolded before the audience, it was clear that the students at The New School had a large task in front of them. Fortunately, they came together and created a remarkable piece of theatre that will not soon be forgotten.

Erin Fiore
West Springfield High School
Submitted for publication to The New Schooler

A gentle Wyoming prairie, with its low, rolling hillocks and a peaceful air under a soft cerulean sky; it's difficult for one to accept that this tranquility could be the same place where an act of pure hatred and violence could occur. The image of that beautiful yet lonely expanse opened and closed The New School of Northern Virginia's production of The Laramie Project, an emotional and riveting play exploring a vicious crime and its effects on the people of one community and across the nation.

The play, first written in 2000 and performed by the members of The Tectonic Theater Project, dramatizes their travels to Laramie, Wyoming, following the murder of Matthew Shepard. Matt, a 21 year old gay man was victim to a brutal hate crime, which left him beaten and abandoned for eighteen hours in the prairie before being discovered and taken to the hospital. He would later die of his injuries. Most dialogue in the play is direct transcript taken from the writers' journals and interviews with the citizens of Laramie, and the play offers a diversified group of voices and reactions to the crime, the man, and the punishment that would be received by the perpetrators.

Standing out in one of his multiple roles was Vince Vilasi as Matt Galloway, the bartender at the Fireside, the last place Matt was seen alive. In his role, Vilasi captured the emotions of Galloway, plagued by bystander's guilt and the idea that he could have stopped everything from happening had he noticed that Matt was heading out the door with two strangers. Another prominent presence throughout the production was Hallie Schlaffer as Reggie Fluty, the police officer who is the first to reach Matthew. Fluty's wide range of emotions were carried well by Schlaffer, fighting to remain professional while recounting the events of Matthew's discovery, but gradually becoming overwhelmed by her emotions. Schlaffer additionally had the challenge of portraying the emotions of a person struggling to deal with her own mortality, as Reggie discovers she had become exposed to HIV while attempting to move Matthew's bloody body without gloves.

Other standouts include Kamryn Leoncavallo and Ross Rubin. In her role as Lucy Thompson, Leoncavallo gave a strong performance as she spoke about a state trooper who had been killed on the same day as Matthew and posed the question as to why Matt's life and murder should be given so much publicity while the trooper is barely acknowledged in the local newspaper. As Doc O'Connor, Ross Rubin portrayed the emotional weight of the show with his anecdotes about his interactions with Matthew and his views on what the hurt community needs.

The staging of the show contributed well to the story, with the set being minimal and the actors seated around the playing space through the entire show. The projection screen overhead provided visuals of settings, such as the aforementioned prairie, as well as news footage and images of Matthew himself. While there were moments in which the ensemble not immediately in the spotlight seemed not quite unified in their focus, the ensemble functioned well together when on stage, moving especially well together to create realistic hoards of reporters or bar attendees.

Through the play, the various emotions about the case, Matthew's life, and the town's views on homosexuality were given life. The New School's production was solid and provided a strong telling of an all-too-common occurrence in modern America and what must be considered in order to move forward. As the character of Doc O'Connor says, it's hope, h.o.p.e, that is needed most.