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You have brutality and you deal with it, and you move on. The two friends, however, had had no first-hand knowledge of the crime or the police investigation.
The other source was Aaron Mc Kinney, who lived with his teenage girlfriend and their child.
Aaron was well known for his short temper and violent aggression, even when not high on meth, and he was surely feared by Russell Henderson, the other young man convicted of killing Matthew.
And I would urge Tectonic Theater Project to join in this reframing by no longer claiming that and requesting an interview.
He has not responded.)In fairness, at the time members of Tectonic Theater Project initially visited Laramie, the media had already broadcast the “gay hate crime” narrative around the world.
aired “The Matthew Shepard Story: Secrets of a Murder,” which Jimenez coproduced with Glenn Silber. But how did “gay hate crime” get attached to news of Matthew’s murder in the first place?
These citizens naturally welcomed what this network news report said, because it meant the shame they had been living with for a decade was unwarranted. traces the origin of that misinterpretation to two independent and unrelated sources.On several occasions Matthew and Aaron had had consensual sex.I’ll pause a moment here, because that paragraph has a lot to process. Worse, it seems to besmirch the memory of a beloved martyr (it doesn’t at all; it makes Matthew’s life story even more important to us, as I will explain).(This hypothetical isn’t completely far-fetched; Shakespeare tended to bend facts in order to flatter his audience’s devotion to the monarchy—and that’s when pieces of the historical record were known to him.Sometimes he just made stuff up.) Would such an intrepid reporter’s detective work lessen the worth of Shakespeare’s dramatic composition, its power to play on stage and move and engage us? As everyone now accepts, there are implied air quotes whenever Shakespeare’s “history” plays are performed. I submit that the theater world now needs to reframe in precisely the same way: Continue to produce and perform and appreciate it, but as an artful passion play, a resonant and multi-voiced portrayal of a community’s struggle to come to terms with its collective conscience—not as a historically accurate depiction of a crime.A new book about the Matthew Shepard murder challenges the theater community to reevaluate a cherished play On October 6, 1998, Matthew Shepard was viciously beaten and left tied to a fence unconscious on the outskirts of Laramie, Wyoming. Beginning November 1998, a group of theater artists in New York City, seeking to tell the story of Matthew’s murder, spent a year and a half traveling to Laramie, conducting and transcribing interviews with more than 200 members of the University of Wyoming and Laramie communities, and creating from those documentary texts a two-act play by Moisés Kaufman and members of Tectonic Theater Project called Beginning in 2000, a seasoned investigative journalist and television producer named Stephen Jimenez spent thirteen years seeking to learn the real circumstances that led to Matthew’s death.He interviewed more than 100 people with first-hand knowledge, in Laramie, Denver, and elsewhere, and examined numerous public records and media archives."In October 1998 Matthew Shepard was kidnapped, severely beaten and left to die, tied to a fence on the outskirts of Laramie, Wyoming.Five weeks later, Moisés Kaufman and fellow members of the Tectonic Theater Project went to Laramie, and over the course of the next year, conducted more than 200 interviews with people of the town.So no wonder that was the understanding shared by all the students and townspeople quoted in a play by Moisés Kaufman, Leigh Fondakowski, Greg Pierotti, Andy Paris, and Stephen Belber, based on interviews the authors conducted in September 2008.The play quotes Laramie resident Jim Osborne, a friend of Matthew’s: After the media storm died down here in Laramie…there were a lot of folks who simply didn’t want to talk about Matthew Shepard anymore. s persistent insistence on Matthew’s murder as a gay hate crime reads like a concerted disparagement of the Laramie citizenry, and a bald-faced protection of the royalty-generating franchise that Kaufman and Tectonic had in I found it just as artful as before, and I saw more clearly that the people portrayed in the play were simply and honestly speaking their emotional truth from what they believed to be true—so their words and feelings still have deep resonance and rich meaning.