CAUTION: This play is protected in whole, in part, or in any form, under the Copyright Laws of the United States of America, the British Empire, including the Dominion of Canada, and all other countries of the Copyright Union, and is subject to royalty. All rights, including professional, amateur, motion picture, recitation, radio, television, and public reading, are strictly reserved. All inquiries concerning performance rights should be addressed to the author’s agent: Joyce Ketay, 1501 Broadway, Suite 1908, New York, New York 10036.

The U.S. West World Premiere was produced by The Denver Center Theatre Company, Donovan Marley, Artistic Director, in association with Tectonic Theater Project, Moisés Kaufman, Artistic Director.

Originally produced in New York City at the Union Square Theatre by Roy Gabay and Tectonic Theater Project in association with Gayle Francis and the Araca Group. Associate Producers: Mara Isaacs and Hart Sharp Entertainment.

The Laramie Project was developed in part with the support of The Sundance Theatre Laboratory.

Library of Congress Cataloging-in-Publication Data
Kaufman, Moisés.
The Laramie project / Moisés Kaufman and the members of Tectonic Theater Project.—1st Vintage Books ed.
p. cm.
eISBN: 978-0-307-53656-3
1. Shepard, Matthew, d. 1998—Death and burial—Drama. 2. Gay men—Crimes against—Drama. 3. Trials (Murder)—Drama. 4. Laramie (Wyo.)—Drama. 5. Homophobia—Drama. 6. Homicide—Drama. I. Tectonic Theater Project.
II. Title.
PR6061.A83 L37 2001
812′.54—dc21 2001026033

v3.1_r1

Dedication

Dedicated to the people of Laramie, Wyoming
and to Matthew Shepard

INTRODUCTION
by Moisés Kaufman

After all, not to create only, or found only,
But to bring perhaps from afar what is already founded,
To give it our own identity, average, limitless, free.

WALT WHITMAN

There are moments in history when a particular event brings the various ideologies and beliefs prevailing in a culture into sharp focus. At these junctures the event becomes a lightning rod of sorts, attracting and distilling the essence of these philosophies and convictions. By paying careful attention in moments like this to people’s words, one is able to hear the way these prevailing ideas affect not only individual lives but also the culture at large.

The trials of Oscar Wilde were such an event. When I read the transcripts of the trials (while preparing to write Gross Indecency), I was struck by the clarity with which they illuminated an entire culture. In these pages one can see not only a community dealing with the problem that Wilde presented but, in their own words, Victorian men and women telling us—three generations later—about the ideologies, idiosyncrasies, and philosophies that formed the pillars of that culture and ruled their lives.

The brutal murder of Matthew Shepard was another event of this kind. In its immediate aftermath, the nation launched into a dialogue that brought to the surface how we think and talk about homosexuality, sexual politics, education, class, violence, privileges and rights, and the difference between tolerance and acceptance.