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THE LARAMIE PROJECT
By Moises Kaufman & Members of Tectonic Theater Project
Directed by Kris Weber
Reviewed by Bruce Cochrane - March 10th
Appeared in Theatrecraft April 2007 edition
This is an epic piece of theatre quite unlike classical epic tragedy yet probably as written, employing very little that is new to theatre.
Conceptually, the sourcing of the material has more in common with investigative journalism and documentary filmmaking than traditional playwriting.
With a cast of 8 each playing up to 10 different characters and speaking almost solely out to the audience this is ensemble acting that does not dwell on interaction between the people of Laramie, Wyoming. We are seeing the response of people to interview questions or watching authority figures 'address the camera'.
It was obvious that Director Kris Weber had invested a lot of thought in planning and developing the production and there was a precision about moves and delineation of characters that provided a sense of drama.
This was after all a detailed reporting of the townspeople's attitudes surrounding what was allegedly an unprovoked and vicious murder.
Using a stark setting Kris used rear projection screens very effectively to illustrate the locations being referred to and combined with a choice of subtle and evocative music brought credibility to the docudrama.
Kris had chosen well in casting 4 males and 4 females of varying appearance and experience.
Each of the actors adroitly adapted to the constant switching from one character to another and in the case of the actresses from male to female. With this came costume changes which although minimal were most effective in transition from police officer to priest to a range of other townspeople.
Drew Mason was nicely understated and insightful in transition from police officer to priest to a range of other townspeople, as was Peter Prenga who convincingly carried the quiet conviction of Moises Kaufman and many other diverse roles with ease and style.
Ivan Nevill made the most of a western man on the land, a rabid hot gospeller and others by utilizing appropriate pauses and variations of pace and tone.
Wil Greenway least experienced of the men was a revelation in several outstanding characterizations requiring maturity and spontaneity and the difficult part of a co murderer.
Carolyn Cusack skillfully changed from police officer to waitress to Baptist minister and was both thoughtful and persuasive.
Equally experienced Kate Mulqueen and Jeanne Snider called on all their technique and belief to honestly represent a range of men and woman caught up in a harrowing event for a town the size of Yea in Victoria.
The other revelation in new talent was Hannah Williams who like Wil Greenway is a recent graduate of Ballarat Arts Academy. Hannah was both confident and convincing in 11 challenging roles including a lesbian school teacher and a convicted male murderer.
This was all true and naturalistic performance with consistent though differing accents and always 'in the moment' acting with effective use of slides, lighting changes and audio.
Kris Weber had clearly worked through changing beliefs and back stories with her cast.
The result was an absorbing if prolonged night of dramatic tensions that has unexpected resonance and wisdom as a result of the collective experience of townspeople and theatre members.
It ably demonstrates how out of horrendous events comes positive bonding and understanding between some people and the exposure of prejudice in others. |
