Scatter Plots: Of Angst and Ethnography

In the beginning of The Laramie Project, one of the company members, Amanda Gronich, expresses a little bit of dismay at the task in front of them:"I've never done anything like this in my life.  How do you get people to talk to you?  What do you ask?" (10).   She's got a valid point.  I suppose that most people think it's a simple matter of just walking up to somebody and asking a few questions, but I'm getting  a better idea of how hard doing that can actually be.  The kind of information you get from an interview depends heavily upon the kind of relationship that the interviewer and interviewee have built between each other, and most subjects are reluctant to volunteer intimate details or make themselves vulnerable to a person whom they don't trust.  In a sense, they were working with the wrong model; they kept talking about themselves as acting like journalists, but some of them (Belber, at the very least) unconsciously start acting more like ethnographers.  Belber, for instance, is painfully aware of his relationship to the people he interviews.  That's part of what pleases me about Tectonic Theater: the kinds of conversations they managed to have with some of these people hints at the creation of a close and trusting relationship between themselves and their interviewees, and they managed to do that in just six visits. 

But how do you get people to talk to you?  I have a very good friend here at the university who is a graduate student in RWL.  Her main emphasis is composition and pedagogy with an ethnographic focus, and she's very interested in academically studying how students from her own cultural background learn how to negotiate in a college environment.  I watched her comb our campus and other colleges in the area trying to find undergraduates who wanted to be interviewed, but after months of fruitless effort, unanswered phone calls and IRB limitations, she had to scrap her original topic for something else.  Now she's drawing her study subjects from among friends and colleagues who fit within the same demographic. 

My friend "Colleen" has been heavily trained in the techniques, ethics and processes of ethnographic inquiry, and even she couldn't break in to the undergraduates' lives enough to convince them to speak to her.  She's even an "insider"; she comes from the same background as these students.  So she had to back up a little and work with people she could count on and who were already comfortable talking with her.  She needed to find people whom she could trust and could also trust her, and that took a prior relationship.

So, what does this have to do with The Laramie Project?  Quite a bit, actually.  "Colleen" discovered how hard it was to break into the lives of a community of people (in her case, college undergraduates) without prior connections; I anticipate that Tectonic had the same problems when they approached a hurting and traumatized community very much aware of how outsiders saw them. 

Scatter Plots

One of my students particularly enamored with The Laramie Project and endowed with a more mathematical imagination once described TLP as a "scatter plot" of Laramie, a broad and random cross-section of the entire community that gives a good idea of the total population.    That's one of the real beauties of TLP, honestly: we hear from ranchers, professors, police officers, Mormon home teachers, and college students, just to name a few. The way these voices all come together to show their different experiences of the exact same event creates an incredible picture of a "collected memory," to use James E. Young's term. All these voices are focused on the m emory of the same, life-changing moment; but very few of them share the same experience. 

And yet, when I think back to this student's comment, I'm a little conflicted.  I completely agree with the metaphor he picked-- the play is incredibly rich in its portrayals of the Laramie community.  The thing that bothers me a little is that I know that the scatter isn't entirely random.   It's a scatter plot, sure, but where did they take the points from?  If you understand a little bit about the background and connections between some of the key players in their drama, the plot looks a lot less random than perhaps Tectonic tries to make us believe.  That's the labyrinth I'd like to plunge us into over the next few weeks.  

But before I get started, please, please understand-- I don't intend to "out" anybody who doesn't want to be found (for instance, I'm not telling you who The Baptist Minister is).  After all, I'm coveting my own anonymity at the moment, so I insist on maintaining that for others.  I'm just going to give you the information that any regular person walking around the UW campus can find out-- no dirty laundry.  I'm not going to tell you the name of anybody who asked for anonymity, and I'm not going to give out anything that isn't revealed elsewhere or isn't common knowledge.   


Okay, so here's some information about a few interviewees that aren't volunteered by Tectonic in The Laramie Project:

Tectonic in a Mirror

Okay, so I'm starting to have some doubt recently, and it's coming from my personal relationship to some of the analysis I've been doing on Tectonic and their techniques.  As you've probably already figured out, I think that at least part of the negative reaction following Matt's death is from the (unintended) offense Tectonic caused in Laramie by breezing in uninvited and proclaiming that the Emperor wasn't wearing any clothes.  I'm a little worried that I might be doing the same thing-- maybe not so much for the larger social good as the childish glee of getting to hit back.  In short, I really need to work out my own ambivalence about pulling a Tectonic on Tectonic.  Is it fair to pull back the curtains on them and show their faults like they did Laramie?  Am I really trying to be fair in how I see their work in The Laramie Project,  or is there some sense of 'Gotcha!' journalism going on with what I'm trying to do?  I don't believe in an "eye for an eye" system of justice or Christian theology, and I sure as heck don't want to wake up one morning and realize that's exactly what I've done here.  This isn't about "getting back" at Tectonic at all, and yet I also realize that the temptation to do so is there.  I've had a lot of negative experiences due to this play.   Stephen Belber and company did some serious soul-searching about their motives in the course of their project.  How clear are my motives, after all? 

If you've been following this blog for awhile, you'll understand that question.  Sometimes I've gotten fairly snippy with Tectonic's treatment of certain things, such as the robbery motive they effectively ignored in The Laramie Project in 2000 only to trot it out as a surprising development in Ten Years Later.  If you haven't been following this blog...  you'll understand why I'm asking this question after next week's post.

When I first plunged down this rabbit-hole and tumbled through its meandering passages, this was not one of the things I had anticipated finding out about myself.  I guess that the reason I'm blogging about this now is that I want my motives to be clear-- not because I think my motives are pure and might be misunderstood, but because I'm afraid they aren't.  I'm hoping that full disclosure will help keep me honest.  Since I've seen what happened when Laramie became a "Town in a  Mirror," I need to be sure not to visit that same kind of harsh scrutiny on others just because my own wounds still sting a little.  And, selfishly, I'm kind of hoping that you all out there can help me.

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PHOTO CREDIT:

"Goodbye, Grand Tetons," from Jeffrey Beall's Flickr Photostream:

http://www.flickr.com/photos/denverjeffrey/ / CC BY-ND 2.0

Research for TLP and Matt Shepard: Comm, Journalism and Soc. Sci.

Due to the nonfictional nature of The Laramie Project and its engagement with both the underlying historical event (Matt's murder) and the social issues surrounding it, I've come across a lot of scholarly work regarding the play, the movies and the historical event in other disciplines.  The media onslaught has naturally piqued some curiosity in the Communications discipline, but I was surprised at some of the others-- psychotherapy, for instance, and education.  I've compiled a list of the more interesting ones for you below. 

A couple of the trends are quite interesting.  Note, for instance, that five of the articles are psychoanalytic approaches to the play that attempt to understand the nature of forgiveness; one of the authors in that list is Stephen Wangh, one of the authors of The Laramie Project.  Two others are looking at the play as a tool to foster LGBTQ acceptance in a social setting, and one tracks the impact of such violence on communities.  The Pace article is pretty neat-- it tracks a small handful of Matthew Shepard Scholarship winners in their college careers. 

And, my favorite topic-- the unhinged media coverage of Shepard's murder and the aftermath-- also makes a showing here in the bibliography.  The complete list is just after the jump! 

The Second Casualty is the Truth: Some Thoughts on the Murder Narrative

[Our Spanish door poses a very good question: what is truth, exactly?]
[You may decide for yourself, but the door requests that you check John 18.]

Like I've said before, I did not want to hear from Henderson and McKinney when I watched The Laramie Project: 10 Years Later.   There were a lot of reasons for that which left me conflicted after the performance.  But one upside to hearing them speak, I figured, was that perhaps we'd finally hear the truth come out.  At first, when I started to think over McKinney's revelations in the play, for a moment of two I thought that we had finally heard the truth.  But the more I reflected back on the different versions I've heard and read, I realized that I don't think that was the case.  I started to see more and more holes in the new stories until I couldn't trust their version of events.  And the more I thought about it, I didn't trust what they told us in the 20/20 interview-- and they told us then that they weren't telling the truth when they talked to the cops the first time, either.  The more I mentally sorted through all this narrative debris, I started to wonder: have they ever told the truth?  And if they did, how on earth would we ever know? 

There is an old saying that in war, the first casualty is the truth.  With the two plays of The Laramie Project, we can see a similar principle at work:  Matt Shepard was the first casualty of McKinney and Henderson's rage.  The truth behind his murder, it seems, was the second.  It may be time to finally realize that of the three people who know the truth of that night, one is dead, and the other two, after so many years of rehashing this story for different purposes, have apparently lost the ability to tell us.

At this point, I feel like I can no longer treat McKinney and Henderson as capable of telling me anything about what happened on that night.  If there was ever any truth there, it's lost.  All that leaves me with is to see their stories as just that--  narratives they tell us.  Each narrative is an attempt at a relationship between them and their audience, told for a specific purpose.  Certainly, each narrative contains elements of the truth, but we have so few tools to help us discern what the truth is that the forensic truth of what happened that night might just be gone forever.  All we can do is look at these different narrative strains and evaluate them for their purpose and effectiveness.  What are the advantages to telling each story, and how were these narratives applied?  What were the perpetrators responding to when they told each story? 

"Revenge and Forgiveness in Laramie, Wyoming": Stephen Wang writes on TLP

How on earth does one person forgive another? And, in the face of terrible violence against the self, how does the individual (and a the community) find healing?  These are questions that lie at the heart of The Laramie Project, and questions that, apparently, at least one of the writers struggled with as they crafted their play. 

 Stephen Wang served as a draumaturge and writer for The Laramie Project in its various forms, and he has done some sophisticated thinking at a critical distance from the play about the nature of forgiveness.  This article appeared, along with three commentaries and a reply, in the journal Psychoanalytic Dialogues.  Looking at both the psychoanalytic tradition, the theatrical tradition, and even religious groundings for forgiveness, Wangh gives his readers a fascinating look inside The Laramie Project at the company's understanding of forgiveness and how that, in turn, crafted the play they all created.   What I really like about Wangh's approach is that he's extremely open about how Kaufman and the other writers approached their documentary material, and he's willing to be honest about where the members of Tectonic might respectfully disagree.  Definitely pick up this issue of Psychoanalytic Dialogues if you're at all interested in the The Laramie Project, the writing process, or its social impact.  I will probably be coming back to these articles at a later date because I want to read Frommer and Sandage's critiques to see what other insight they might give us.

Jackrabbit's conference paper on TLP, sort of

A few days ago I posted my initial reaction to presenting something vaguely academic at a scholarly conference; I figured that it was a lot easier to actually post the damn thing to let you see for yourself what I did than to try to reinvent the wheel-- especially when inventing the wheel the first time seems to have consumed a good portion of my sanity.

I have to give this with a caveat or two: first of all, this is not the final draft I presented.  I had to make a lot of handwritten changes to this before presenting, and now I can't find the stupid thing to type them in.  So this is simply a draft-in-progress; as such, it doesn't have any of my citations in it, either.  Besides, that will keep lazy undergrads from plagiarizing this for a research paper.  (For those who were considering it: shame on you, lazy undergrads.  Go to the bibliography page for sources and write your own.)  

So, please treat this for what it is: more of a sketch of my research than anything actually presentable or scholarly in of itself.  You can also view my Powerpoint presentation (oh joy.) to fill in the quotations, evidence and critical background, if you're that masochistic, here.  (hint: right-click the file on that page and click "save," otherwise your browser will try to open a Powerpoint file, with hilarious results...)

So, without further ado, here's a look at Jackrabbit's mediocre first attempt to act like a grown-up and treat The Laramie Project like a scholar after the jump!

Jackrabbit Goes to the Academy: and I survived!

This past weekend was the bi-annual NEXUS interdisciplinary conference at the University of Tennessee, focusing on the theme of "Trauma and Testimony." Yours truly presented a paper on The Laramie Project dealing with testimony and community identity, which went... interestingly.  I wasn't entirely sure I was going to be able to pull the damn thing off, but after a lot of hair-pulling I managed to get a paper written, and the presentation went off with just a few minor lumps, bumps and bruises.

Actually, I discovered that getting this paper together challenged a lot of my previous ideas about why I resent The Laramie Project so much, and that was a good thing.  Essentially, I didn't like what the play was doing to my ability to define my own existence, but I also realized that it's that destabilizing of Laramie's idea of community that allows the LGBT community to speak.  Secondly, I never liked having to allow certain people (who I will not name because of their litigious personalities) to speak for me.  That's the same argument that a lot of TLP haters use about letting gays and lesbians speak out against them, and I have to wonder...  I think that Tectonic did a great thing by allowing my gay friends and neighbors the agency to speak of their life in Laramie, and in doing so they challenge the way that the "majority" have defined the community, and they feel the same press of being "defined" by a society external to their own.  Is that why I'm so ambivalent for this play-- because now I have a vague idea of what it feels like to be a voiceless member of the GLBT community, defined by the center and unable to speak back?

Anyhow, getting to that realization took a bit of personal wrestling.  Due to exams and other concerns, I couldn't actually write the presentation until the week of the conference.  Even though I had loads of time to do it, I kept staring at a blank screen, tapping my fingers, reading friends' blog posts, doing some creative writing.  Finally, the night before I had to give the paper, I stared at my terrifying, blank computer screen and typed out a single phrase:

a strained and sometimes fractious relationship

 I stared at that phrase for about two solid minutes, and once I had the source of my writer's block on the page, the paper I had been writing in my head for the last month and a half sprouted out from under my fingers.  I stayed up all night writing the stupid thing.  

 The other three papers in my panel were freaking awesome, and there's one in particular I might write about, if "Annie" will let me, that is.  She wrote about her family's personal experience with a personal trauma and the weird position families get into, rhetorically speaking, as they try to urge the press to act as an outlet for their personal testimony. Since she's interested in the ability of victims to speak, as am I, it seems like a good fit...

And, Laramie made its presence known in an odd and interesting way once more to me at the conference.  The website for the conference is illustrated with images of trauma and violence of the sort that the presenters research, and this picture was one which one of the organizers (whom I don't even know) had found on Flickr:

Never forget that Laramie, Wyoming is a town scarred by more than just the Matt Shepard incident; every town's psyche shows the scars of a parade of grief.  The roadside memorial which stands at Tie Siding, Wyoming was erected after eight members of the UW cross country team were killed by a drunk driver just a week after the terrorist attack on Sept. 11.  They were traveling to a meet at the time, and the man who killed them was another UW student.  At the time, I had been attending school at my new college in the Deep South for a little over three weeks. 

When I saw this photo on the website, it stopped me in my tracks.  I mean, I was at a conference to talk about how Laramie has tried to speak through a moment of tragedy, and here I was being confronted by one that I haven't even thought about for years.  What makes one tragedy seem so indelibly burned into our collective consciousnesses and others, like this one, must remain silent except for eight pairs of shoes and a peeling marker at a deserted crossroads?  It sometimes seems so unfair, but that's just the strange way that collective memory works.  Somethings remain, others don't, and all will eventually be forgotten.  Perhaps it was good for me to step back a little from the Shepard tragedy and put it in this larger context-- in comparison to those Laramie tragedies whose presence scars just as deeply but whose stories don't get told: James Merritt, Kristen Lamb, Cindy Dixon, the Tie Siding accident, the 2006 double murder-suicide...

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PHOTO CREDIT:

1) The 2010 Nexus logo, used with permission.  You can view the full conference description here.

2)  The roadside memorial at Tie Siding, Wyoming, taken from gregor_y's Flickr photostream:

http://www.flickr.com/photos/gregor_y/ / CC BY-SA 2.0

A Piece of Rope

I've been thinking a lot recently about what we learn in the Epilogue from Henderson and McKinney about Matt's murder.  I saw some interesting things come out of those two interviews, such as McKinney's sociopathic lack of sympathy and the way Henderson believes he's eternally helpless over his own fate.  Tonight I guess that I'm interested in something else entirely: in the Epilogue, Henderson and McKinney's stories about who tied up Shepard to the buck fence simply don't line up.  This isn't entirely surprising; it would make at least the second time that McKinney has changed his story about that night.  It's easy enough to just assume that they're both lying, but what if one or both of them are sincere?   If we picture that scene eleven years ago, who was holding the end of that piece of rope? 

Getting into the vagaries of personal memory usually makes me want to beat my head against a wall because the more I read into the psychological and philosophical perspectives on memory, the murkier it gets.  Right now, I tend to side with St. Augustine; in his view, all of our experience, past and future, only exist on the "knife's edge" of the present.   Since the past can never exist except as a memory in the present, we can only access them in the present-- by reaching through our current perspective and experiences to grasp at the point in the past.  The past becomes, in a sense, eternally colored by all the things which proceeded from that point and our current, present experience.  When it comes to memory, you really can never go home again; just as our present eternally changes, so does our perception of the past along with it.

But what can this tell us about the extent of Henderson's culpability in Matt's murder?  Probably nothing factual; but we might, however, tease something out about the narratives McKinney and Henderson have told themselves over the last ten years since their convictions.  This single piece of rope, stretched through ten years of retrospect-- tied by whom, and in what manner-- can tell us a lot about the nature of our memories, and perhaps how McKinney and Henderson try to understand their own histories as well.

Bibliographic info for "The Laramie Project": Lit Crit and Theater

After the jump on this page is a list of major works that I've been able to find that focus on The Laramie Project to some degree in the MLA Bibliography and the International Index to the Performing Arts.  I tried to stick to presenting scholarly articles that were both in good journals and were of some length.  The IIPA, for example, has a ton more, but a lot of them are just short news blurbs or show announcements.

Note also the number of these that are by TT members, interviews with TT members, or about their practices.  There's not as much on the literary side of The Laramie Project as I had expected, strangely.  The articles vary both in focus and in quality, so definitely check these out for yourself when using them. 

Failure to Engage: The Robbery Motive

Looking back, one thing about The Laramie Project: Ten Years Later that interested me are the lengths that they went through to in order to try and reinforce that Matt's death was a hate crime.  I mean, they go so far as to get a folklorist to explain why the rumor that it was a "robbery gone awry" is so popular.  Personally, I've never really questioned that it was a hate crime; robbery was a major motivation (come on, they paid for a pitcher of beer with spare change,  and they did in fact rob the guy), but McKinney's confession speaks for itself: he has a deep-seated fear and hatred of gay men, and the force that drove him to stave in a helpless man's skull wasn't the twenty bucks in his wallet.  It was something else.  Matt was kidnapped and robbed because he had a full wallet, but he was bludgeoned to death because he was gay.  For me, it's basically been that simple.  

But, why did TT spend so much time on this?  Obviously it's a troubling trend in the community, indicative of a larger need to try and repress or forget the larger problems that Matt's death revealed.  But there is something about TLP's previous engagement with the robbery narrative that does bother me a little bit, however, and that's what I'd like go over now.

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"As much as, uh, part of me didn't want the defense of them saying that it was a gay bashing or that it was gay panic, part of me is really grateful.  Because I was really scared that in the trial they were going to try and say that it was a robbery, or it was about drugs.  So when they used 'gay panic' as their defense, I felt, this is good, if nothing else the truth is going to be told... the truth is coming out. "

--Prof. Rebecca Hilliker, in TLP (2001): 91

"Aaron's done that thing before.  They've both done it.  I know one night they went to Cheyenne to go do it and they came back with probably three hundred dollars.  I don't know if they ever chose like gay people as their particular targets before, but anyone that looked like they had a lot of money and that was you know, they could outnumber, or overpower, was fair game." 

-- "Jen," a friend of McKinney's in TLP (2001): 61-62

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Both of the quotes above from the original TLP  are probably from sometime in 1999, and I would assume before the conclusion of the McKinney trial. Both of them bring up the robbery motive. The only reason I bring this up is because in the Newsweek article, Kaufman and TT refer to the robbery excuse as a newer development in the way people talk about the Matt Shepard murder:

"A real cause for concern, however, is the emergence in Laramie of a narrative that has gained many proponents in recent years: one that states that Shepard's murder by two local residents, Aaron McKinney and Russell Henderson, was only 'a robbery gone bad' or 'a drug-fueled murder' and not a hate crime...  One hypothesis is that because Laramie was portrayed in the media as a backward town where hatred and bigotry were rampant, forcing the citizens to question their identity as an idyllic community, a "good place to raise your children."

 In his post on the play on Newsweek's website, Carl Sullivan likewise claims that "many Laramie residents seem to have concocted a revisionist version of what transpired."  As he goes on to explain, "Residents could accept that Laramie might be home to drug crimes (what town isn’t?), but mindless hate? No way."

Now, forgive me for saying so in direct address, but that's garbage, Mr. Kaufman: there was no "emergence" and it's been popular for more than "recent years."  It's always been here.  People have been talking about the robbery motive from the day of the arraignment and we learned about the credit card and shoes in McKinney's truck.  In fact, the earliest outcry against the robbery motive I can find is Oct. 12 in the Cheyenne Wyoming Tribune-Eagle-- the day after Matt died.  Laramie residents even talked of the robbery motive to your people--  it's all over TLP like half-smudged fingerprints on a water glass.  Rebecca Hilliker didn't invent that worry out of the blue; she'd heard the rumors and responding to a real fear that robbery would be used as an excuse in court.  Even one of your own interviewees, that damn limousine driver, told Newsweek he thought it was a "robbery gone wrong" two months after Matt's death. Those are his exact words.  

I would maintain that this is not a new development; rather, it simply has a new and more devastating purpose-- erasing the memory of an event that's too difficult to address without severe self-reflection.  Robbery is the narrative we're used to telling ourselves because the GLBT population in Laramie is largely invisible and hate-driven violence in our community has largely gone unnoticed.  It was therefore the narrative many of us defaulted to when the attack first happened-- before the media blitz really got underway.   So I would accept TT's assessment of why the robbery motive is so prevalent now; I cannot, however, accept that it sprung up sometime later, in response to the media blitz.  

Why would this motive be so popular in Laramie so soon after the crime occurred?  I don't think it was principally due to homophobia-- at first.  When it first took off, it was actually part of a much larger, longstanding tension between the Laramie community members.  Matt, you see, was relatively wealthy, and he was from the campus.   Aaron McKinney was essentially from West Laramie, and Henderson lived out by the cement plant; they represent the working-class and poverty-line residents of Laramie.  These two parts of Laramie have never really seen eye to eye, and West Laramie in particular has suffered from unfair characterization as being uneducated, crude and intolerant by some of the more so-called "open-minded" intellectuals on the campus.  Pointing out that McKinney was a poor, high school dropout and intolerant and that Shepard was a gay college student just played into the same class antagonism in Laramie that had existed long before Matthew Shepard walked into town.   Then, when the media waltzed in and portrayed the whole town of Laramie as closed-minded and  intolerant, the robbery fable probably gained a lot of ground among others who might not have taken a side. Take a look at Shannon and Jen's interviews: that "moment" is all about this class antagonism (like calling Matt a "rich bitch") and they focus on the robbery and drugs angle too.  In their minds, the robbery angle and their resentment for Matt's social class are linked. 

So, why did TT never directly engage the robbery narrative in the first play?  There could be lots of reasons: maybe it never came up in interviews, or they were too busy establishing the hate crime basis of the murder, or maybe they were even uninterested.  I don't think it can be #1 because, after all, Hilliker spoke of the robbery defense, and "Jen" hopped all over it, too; it's all she could talk about, practically.  I can't speak to whether or not it's because "Jen" actually thinks that Matt's murder was a robbery, or if she's trying to help McKinney by playing up the robbery angle. 

But for the sake of argument, let's go ahead and assume that TT had heard of the robbery argument when they were in Laramie from '98 to '99; it's the only thing that makes sense to me, seeing as it's mentioned in extant interviews and everybody was talking about it.  Why not address that motive more fully?  From an editorial standpoint, I think I can understand why the writing team probably didn't want to touch it.   It's hard to even bring it up without somehow legitimating it as a possibility.  After all, McKinney and Henderson did in fact rob Matt Shepard when they beat him.  That's easy to prove; motivation and personal prejudice, however, are much more slippery matters.  The play has to work very hard to make it clear that Matt's murder was a hate crime, to the point that no other reasonable possibility is even considered.  After all, when you have a play built largely on personal opinion and personal reminiscence, how do you bring up a false motive in interviews without making it seem as reasonable as anything else people say?  I would respond that they did the same thing with the suggestion that Matt hit on McKinney, and that was pretty well refuted by the way they layer other people's testimony in with McKinney's confession in order to discredit his claims. 

 Another possibility-- again, assuming they did in fact know of the robbery defense--  might be that they failed to engage the robbery motive because it fails to engage so many of the play's central questions.  Robbery does not address the issues of tolerance and sexual orientation important to the play's organization; rather, it brackets them and sets them to the side.  That's exactly what makes this narrative so attractive to the nay-sayers: you don't have to worry about self-examination and self-doubt anymore.  It reduces Matt's murder to the simple economics of greed, and there's nothing left to discuss. Thematically, it therefore makes no sense to bring it up in the text of The Laramie Project. 

Could that be one of the reasons that TT spends so much time in the epilogue dwelling on the grisly details of Matt's murder to disprove the robbery motive is because they're fixing a previous oversight?  I don't know if it's true; I just know that that's what I want to believe, because that explanation speaks to a sincere regret I've harbored over the original Laramie Project: I wish that they had more directly acknowledged, challenged, and dismissed the robbery motive back in 2000.    When this rumor was ignored, it grew exponentially because people thought it was being suppressed. If TT had addressed the robbery motive then, it might have kept it from seeming like it sprouted out of thin air, and it would have dismissed an alternative explanation of Matt's death that really needed disproven.  Would have it made a difference?  Probably not.  There's still that awful 20/20 program to consider; that did plenty of damage on its own.

It does raise a larger, more interesting question, however: how much should we see the epilogue as an attempt to finish or "fix" things that Tectonic  Theater felt like they couldn't or didn't do in the first play?  A lot of the new material-- talking to the Shepards, for one, and the killers for another-- sort of have that feeling.  These are all things that they could not reasonably do in 1999, but they can now.  Could the robbery motive in the Epilogue be another piece of unfinished business?   I'd be interested to see what other people think.

Lost in Translation

You'd think that, as a literature major, I wouldn't be as resistant to symbols and abstraction as I am. I live in the realm of abstraction; it's a comfortable place, they know me here. I'm getting a degree in it, even. I'm so used to dealing with the realm of the metaphor and story, actually, that it can be really hard to turn that part of my brain off sometimes. "Will you just sit back and enjoy the movie?" my husband occasionally smirks at me. (Other times, he's worse than me. We laugh it off.)

It's not really myth or symbol itself that bothers me. It's seeing that process of myth-making firsthand that's been so disorienting. When a deceased person passes from a living, imperfect being to a myth, to me it almost feels like an annihilation of the individual who once lived but now can't speak for themselves. And yet, I'm a medievalist, for crying out loud, I've read saint's lives.  Sanctification, many times, is a process of forgetting; when the imperfections that made them a mere person are gone, then someone writes a text to exemplify their holiness. And that's how you make a saint in the early Middle Ages: forgetting, coupled with a narrative. No wonder that some of my favorite holy people are often the tenacious ones, the royal pain in the asses who spoke for themselves or left a record of their frailties: Perpetua, Augustine, Boniface, Leoba; Thomas á Beckett; Julian; John Donne. 

Abstraction anxiety?

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And a lot of it is my feeling that the media is portraying Matthew Shepard as a saint. And making him as a martyr. And I don't think he was. I don't think he was that pure.

-- Sherry Johnson, in TLP (2001): 64

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Although thinking of what has happened to Matt as a translation to sainthood is admittedly anachronistic, the process that Sherry dislikes above is nevertheless a good fit: forgetting, coupled with a story, makes Matt something more than human and less than human at the same time. He's a symbol or a myth. When that happens in a story like TLP, where's the real person? To where, and as what, does he get translated to?  And I also wonder: where does that very human impulse to translate the flesh and blood of a real person to symbol come from? Sherry Johnson fears that impulse, I would say, for all the wrong reasons; she merely believes that Matt isn't a good candidate based on the slander and hearsay she's picked up around town. I'm just as hesitant, but I'm more concerned about the ethics of making a man into a myth in the first place. Is it fair to the deceased? Or, is it what they would want?

Fear, Loathing, and "The Laramie Project": Hindsight

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He who learns must suffer

And even in our sleep pain that cannot forget

Falls drop by drop upon the heart,

And in our own despite, against our will,

Comes wisdom to us by the awful grace of God.

--Aeschylus, Agamemnon; tr. Edith Hamilton

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Okay, so all bets are off: this is memory stuff no longer any fun.  It seriously sucks.  

Just like I did with my first posts on my personal memory, I wanted to look back through my memories of 2000 to 2009 and see if I could find any similar lapses in memory like I saw in my first stories.   This little exercise, however, has led to some seriously personal introspection that I didn't want to have to do.  If you therefore don't want to read any extremely personal and depressing revelations about the Jackrabbit, then by all means read no further in this post.  Consider yourself duly warned.  

 Anyhow, I figured that, since these memories were more recent, I wouldn't have quite the same problems of recollection I had earlier.  I discovered that this wasn't necessarily the case; the more recent memories have just as many vagaries, and regarding one very important omission, there's more.  Here are some things I discovered that I fudged, left out or misrepresented in my previous recollection:

Blog link: Read Jonas Slonaker's Editorial, Interview, and More!

[Update: I think I have the link fixed now.  Sorry for the annoyance!]

The blog Ten Thousand by the Fourth of July is a blog o' potpourri: some poetry, personal reflections, reviews...  a little bit of everything.  It's run by Pennsylvania based blogger CA Conrad, who is also a cousin of Laramie resident Jonas Slonaker.  Conrad interviewed Slonaker after Tectonic interviewed him for The Laramie Project: 10 Years Later back in October 2008, and attached are a list of personal reminisces about life in Pennsylvania and the struggles of their family.  It's utterly fascinating, people.   

Okay, so you already know that I've always harbored a soft spot for Jonas Slonaker in the play, mostly because he's so honest and straightforward about how he sees the world, and he's resistant to happy endings.  This interview, and the personal information attached, only makes me like the guy a little bit more. There's info on everything from the HBO movie to the limo driver interviewed for the first play. 

And, there's one more thing you should know: the full text of that letter to the editor that the Boomerang refused to run is in the post, too (look near the bottom).  It's the only source I've found for it so far.  I didn't want to post it on my own site because that felt like cheating.  So, go!  Read! Look for yourself! 


http://tenbyfour.blogspot.com/

Plan-B Theater Company Remembers TLP

The Laramie Project, originally uploaded by planbtheatreco.

Plan-B Theatre company is a Salt Lake City-based theatre troupe who, according to their website, "develops and produces unique and socially conscious theatre." Considering their social mission, then, it's no surprise that they were also the first independent company licensed to produce The Laramie Project after the Tectonic run was complete in late 2001.   The theatre company has a blog post looking back on their own personal recollections of the Shepard case and the staging of that monumental run of performances in 2001.  It's a pretty moving story-- especially when you read who showed up to watch their performance (and I'm not going to spoil it for you by telling you who...)

In addition, they have a series of photos from the theater company on Flickr so you can see their body of work over the last decade or so-- and let me tell you, it's pretty impressive.  Their repertoire since 2000 has ranged through a wide range of thought-provoking drama about everything from GLBT issues (like this one) to race to terrorism. 

 There is a set of stills for The Laramie Project as well in the Flickr set, but I'm having trouble from the context of the pictures telling whether or not they're from this original run in 2001 (pictured left) or if they're from a later run, possibly in celebration of The Laramie Project: 10 Years Later.  They weren't uploaded until a month ago and there are no descriptions, so I'm not going to venture a guess.  I will say, however, that it looks like it was brilliantly staged. 

In any case, I wanted to share with you their poster for the run, which is a fascinating piece of artwork from both a symbolic and an aesthetic point of view.  I love their view of the sky-- literally boiling in the turmoil of a prairie sunset, crashing down and yet opening an escape-- and the double image of both Shepard's binding and release.   The artist is playing around with some great imagery of social turmoil, freedom, and hope. 

But of course, the thing that most clearly catches my eye is that fence.  They didn't design the scene with a buck fence in it, and being a good Utah company in an area with lots of rural landscapes and wilderness, I have to wonder if that was on purpose because I simply can't imagine they wouldn't know what a buck fence looks like.   Perhaps it's not too strange to read their choice as a refusal to participate in the grisly symbolism that had, by the time of this run, built up around buck fence where Matt was beaten.  If so, that's an impulse I can completely understand and actually sort of appreciate.

In any case, you now have four links above to explore and play with.  If nothing else, check out that blog post!  It's fascinating for a lot of reasons-- especially with tidbits of things that were in the original TT run but then were edited out by the time the Vintage edition was released, nearly at the same time as this theater run.  Please, check them out!

Fear, Loathing, and "The Laramie Project": Narratives

After the 2006 production of TLP at my college campus, I continued to teach the play; but, but following that traumatic evening, my pedagogy changed.  For one, I adopted instead a much more autobiographical focus in my classroom.  Our department allows us to pick themes for our 101 and 102 English classes, so I picked autobiographical memory for mine.  Actually, "Memory and Atrocity" might have been a better name for my class; in addition to TLP we generally read Maus and study the Truth and Reconciliation Commission in South Africa (a "semester of depression," one student quipped).  I've taught Jane Taylor's Ubu and the Truth Commission alongside TLP before, which had unpredictable but interesting results.  (Comparing TLP with autobiographical theater in South Africa is a rich, rich field of study I'm trying to research-- but more of that later.)

In my course, we read TLP as a reservoir of a crafted, collected (as opposed to collective) memory of Matt's murder, and we talk about the strengths, pitfalls, and limitations of memory to capture a specific moment in time.  We read TLP to look at the collective understanding of Matt's murder, the whys and hows of how people remember, and why personal memory is such a powerful tool for social change.  This would ultimately be good training for me, psychologically speaking, because I would have to face this play one more time:  the October reading of The Laramie Project: 10 Years Later.

NY Times Covers "10 Years Later"

The New York Times' Patrick Healy did an extensive piece similar to Newsweek's in the run-up before the presentation of The Laramie Project: 10 Years Later.  It has a lot of the personal focus on what happened after the media fallout that appears in the play.  You can follow this link to the article. 

Take note of a few good resources on the same article page:

• A photo essay of Laramie now  (A slide show. Woo-hoo.) 
  
• NYT's original review of the play (hidden behind a member's wall, but sign-up's free)
  
• Audio clip interviews with the principal writers (see the page)
  
• Times Topics sheets for both Matthew Shepard and Moises Kaufman 
 

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Source:  
Healy, Patrick.  "Laramie Killing Given an Epilogue Ten Years Later."  New York Times 16 Sep 2009. nytimes.com.   Web.  

The 2006 Production of "The Laramie Project" in Appalachia

Laramie Project 33, originally uploaded by rogerchoover.

If you'd like to see some stills of the well-acted undergraduate performance of TLP back in 2006 that sent me into a minor panic attack, Rocher Choover here at my college has put up a good series of stills from the performance. You can click on the picture above to follow it to his Flickr Photostream and the set for The Laramie Project.  (He also has sets for their other major performances, including Tommy, Flyin' West, Copenhagen and A Christmas Carol). 

This picture is from early on in the play, and (I think) depicts the Tectonic Theater crew discussing their upcoming project. The tall kid with the black hair with his hand on the chair is the actor who played Jed Schultz in the performance, and he interpreted his part close to the real Jed that it was really kind of scary. If memory serves, he was barely a sophomore when he did this performance. 

Looking through these pictures again actually made me feel a little queasy and jittery. But for you, I think they would be a helpful guide for picturing the nature of this second performance. Enjoy!

Fear, Loathing and "The Laramie Project": Haunted

I left Laramie in 2001 for the other side of the country.  I was recently married and my husband had a promising job lined up, so I was destined to finish my English degree at a small college in the deep South that smelled like mildew and looked like the set from a Civil War romance.  Once I left Laramie, however, I started to get an idea of what the rest of the country knew about Laramie and how the media, and how The Laramie Project as well, had colored their impression of us.  For the next eight years, it felt like every other new relationship I started also had to start with a defense of my home state.  I feel like ever since I left the Rockies I've been haunted-- haunted largely by this play.  Much of my own struggle to contend with the issues surrounding Matt's murder really come down to how I contend and find peace with The Laramie Project, but as you'll see from my story, that attempt to find peace is still very much a work in progress...

No Fog West Theater Company: Doing TLP in Wyoming

So how far would you be willing to go in order to stage a production of The Laramie Project in the state of Wyoming?  No Fog West Theater was started when a Sheridan high school student wanted to perform The Laramie Project in high school, but the play was banned for its language and explicit content.  That student went to Vassar the following year, drummed up a cast, director and financial support, and then they brought The Laramie Project to Sheridan, Wyoming for a two-week run at the Carriage House Theater.  They repeated the venture again in 2008, performing Talking to Terrorists.  You can read about the company's Wyoming run in the Casper Star-Tribune, linked here. 

How's that for dedication?  It's an interesting story, and you can read some of their reactions online from their blog for No Fog West; they basically only write during their summer performance season, so there are posts from their 2007 and 2008 seasons. 

It seems that they have let their website domain expire, but you can also track them via Facebook.  Definitely check them out!