Director’s Notes for The Laramie Project

Detail of The Laramie Project set. Photo by Toni Carosella.

"Drive west from Bloomsburg on I-80 for 1,636 miles, and you'll arrive in Laramie, WY. Both are small towns of long-time residents, situated among a rural landscape; both are home to a university attracting out-of-towners; both possess an All-American mix of blue and white collar jobs. And both have gay residents. I'm sure many of the straight members in today's audience are accepting of our fellow citizens who are gay. Others in the audience, though, may find the presence of gays in Bloomsburg troubling, or sinful. In that regard, American society today retains a similarity to 1998-2000, the time of Matthew Shepard's murder and the writing of The Laramie Project. In the nearly 20 years since then, has anything changed? Has there been progress in the struggle for acceptance of, and civil rights for, gays and lesbians?

Certainly on the legal front one could point to the federal Matthew Shepard & James Byrd, Jr. Hate Crimes Prevention Act (2009), the repeal of Don't Ask, Don't Tell (2011), and the Supreme Court ruling legalizing same sex marriage (2015), and give a qualified “Yes!” But hate crime and discrimination legislation on the state (including Pennsylvania and Wyoming) and local levels are woefully lacking; and when it comes to the hearts and minds of average Americans, there is still work to be done. Just recall the Kentucky county clerk who refused to grant same sex marriage because of “religious freedom”, or local businesses nationwide who deny service to gays and lesbians. This reveals how fragile and misunderstood the LGBTQ movement is in America, not to mention the violence done to gays outside our country, in Africa, Russia and elsewhere.

The Laramie Project examines these questions as two communities –the Laramie residents and the members of the Tectonic Theatre Project from New York- learn about themselves and each other in response to the brutal murder of Matthew. Now drive east on I-80 for 1,636 miles and check out Bloomsburg. Should a hate murder occur in our community, how would we respond? With examination, or a cover-up? With outrage, or harassment? These questions keep The Laramie Project from being a period piece. Its enduring relevancy is a call for vigilance against hate. Healing and progress are possible."

- Jim Goode, Director of The Laramie Project 

BU Players' production of The Laramie Project runs February 24 through 28. Days and times, as well as ticket information, at buplayers.org.

Five Questions for Titus O'Neil, Director

Titus at work in the Scene Shop

What got you first interested in theatre?
I don't really know at what point it was official. My brothers would always do skits for our churches Vacation Bible School, so as I got older, I sort of inherited the job of making them. When I was in high school I was in every play I could, but honestly, deciding to go to college for theatre was sort of a random idea. I couldn't think of anything I would really enjoy learning about in great depth. So I just kind of went with it.

What's the most exciting or challenging aspect of directing for you?
I love directing because I love to be able to see characters. I love to see another life. Theatre can be a window to another world or just another life somewhere in the world. So to be able to bring that window to audiences, to allow them to peer through the exact panes that I have been working on, is a fantastic experience.

Which play are you directing and what do you love about the play?
The Opposition by Courtney M. Dunn. This play is so intense, and the actors have really delved into that intensity. I love to look deeper and deeper into characters and their desires and questioning why they want that, and this play has lots of hidden reasons to explore.

What's it like to direct a brand new play?
It is so much cooler than I was anticipating! I was a little leery of what this process was going to be like, but it has been a lot of fun. It is so cool to see all the collaborative work of so many people coming together.

If you were a fruit or vegetable, what would you be? 
I would certainly be a banana. Bananas are often best when they are "overripe but not rotten." Come see the 10-Minute Plays if you don't understand because if you do, then you're probably part of them.

Titus O'Neil is a junior theatre major with an integrated emphasis at Bloomsburg. He was last seen as Gavin in the BUPlayers' production of The Nosemaker's Apprentice, and he can commonly be found scaling the ladders of the Alvina Krause Theatre.

Five Questions for Chris Creyer, Director

Chris Creyer is directing The Compliment by Bry Kifolo in the Original 10-Minute Plays by Student Playwrights (April 1, 2, 6 & 7). We asked him five questions. (You can also read playwright Bry Kifolo's interview on this blog.)

Chris performing at Dorney Park

What got you first interested in theatre?

In a sense I've been interested in theatre since I was young, even though I couldn't conceptualize what theatre was until years later. As a kid I would always watch and listen to the Peter Pan VHS performance with Cathy Rigby. After watching I would reenact those scenes and sing along to those songs constantly. Yet, when it comes to that interest in theatre and my eventual involvement didn't occur until high school. The two events that sparked my interest in theatre was watching the Phantom of the Opera during music class and later my Drama Club’s performance of the Sound of Music.  After watching Phantom it left me in awe, those melodic songs were stuck in my head and I began to sing those songs. It was at that moment I realized I could sing but I was still hesitant to audition for the Sound of Music. After seeing the performance twice, it made me realize that I could do those same things and I truly wanted to be on that stage. Afterwards I had an epiphany that theatre was the thing I was so drawn to as a kid and something I wanted to be involved in. The next year I joined Drama Club and took part in Aesop’s Fables and Pippin, which is when that passion was firmly cemented.

What's the most exciting or challenging aspect of directing for you?

The most exciting aspect of being a director is to have a vison for a play and be able to see that come to life during rehearsals and the eventual performance.  The other is to have the opportunity to collaborate with very talented actors and to see them grow, as I guide them to finding the truthfulness in their characters. It’s a pleasure to be able to work with those individuals and to see such passion and talent hard at work.

Which play are you directing and what do you love about the play?

I’m the director of The Compliment and it’s hard to choose just one thing. If I could choose one thing it’s how relate-able the characters are. Their experiences and fears was something that resonated with me. I can see myself at various instances in both these characters either in their personalities, fears, experiences, and how it feels to withhold one’s true feelings and the frustration that comes with it. All of those things stood out instantly and allowed me to bring that truthfulness during rehearsals because I could sympathize with both characters. These things aren't unique to me because I know that people will be able to see a part of themselves in these characters, which is what I truly love about this play. 

What's it like to direct a brand new play?

Being able to direct a new play is definitely a unique experience. The play is literally a work and progress so it’s great to be part of that for the first time. Through seeing how many changes can occur before the play is seen by an audience but they don’t alter what makes the play so great. It’s also been a great opportunity to work side by side with a playwright throughout the entire process. It was very helpful to have that extra insight during rehearsals because it ensured I was meeting their intentions for the play. Ultimately, it’s fulfilling to bring their play to life and to see gratification on their face when they see their work lifted off the page and done in a way that meets everything they intended it to be. I never thought I’d get the experience of directing a new play but I’m glad I’ve gotten that opportunity.

Chris and his friend, Henry Carver

If you were a fruit or vegetable, what would you be?

I would be an apple because it’s my favorite fruit and I have one every day. Symbolically, I feel I can be like the apple that struck Isaac Newton because I can be the catalyst that’ll cause someone to do great things either as a director or as a teacher.

Christopher Creyer is a Sophomore Secondary Education History major at Bloomsburg University. He previously directed What Are You Going To Be? for the Directing Class Projects. Chris also works as a performer and supervisor in Live Entertainment at Dorney Park and Wildwater Kingdom.

Five Questions for Kate Mochnacz, Director

Kate Mochnacz is one of the directors of the Original 10-Minute Plays by Student Playwrights (April 1, 2, 6 & 7). We asked her five questions. 

Kate as Julie (the one in the pink onesie with the pigtails)
with the cast of The Nosemaker's Apprentice

What got you first interested in theatre?
I saw my first Broadway show when I was seven.  Five minutes into the show, I fell in love with theatre.  I then saw the same Broadway show two month later and, I was much more observant of the show and the atmosphere.  I knew then that I wanted to be on stage and acting. As I started performing, I starting learning so much more about theatre and the different roles you could be a part of, which led me to other roles in a production such as assistant stage manager and director.

What's the most exciting or challenging aspect of directing for you?
I think that the most exciting aspect of directing is watching the actors make breakthroughs on their character or the play in general.  It’s so exciting to see them finally understand what they want from a scene or why their character is using this specific way to get them to their end goal.  I think that the most challenging aspect of directing is communication.  It’s difficult to get what you want across while still letting your actors learn and flourish (refer back to the most exciting aspect of directing).

Which play are you directing and what do you love about the play?
I’m lucky enough to direct two plays for the Original Ten Minute Plays. Pastime, written by Will Olsen, has been a pleasure to work on and I love how the play shows that some people are capable of change, while others are not. Dink, written by Titus O’Neil, has also been a pleasure working on and I love the lines that only make sense in the context of the play!

What's it like to direct a brand new play?
It’s been a lot of teamwork, a lot of work, and a lot of fun.  It’s definitely what I expected and it’s been such a great learning process.  The shows are constantly changing, and it’s been a lot of fun working with my playwrights to tell the story they want to tell.

If you were a fruit or vegetable, what would you be? Why?
In a previous blog post (Backstage with the BU Players: Five Questions for Kate Mochnacz, Actor) I said I would be a strawberry.  I stand by my decision since I still love strawberries.

Kate Mochnacz is a sophomore majoring in Early Childhood/Special Education with a Concentration in Deaf and Hard of Hearing Education as well as Theatre with an Integrated Emphasis.  The Original Ten Minute Plays marks her third and fourth directing credits, previously directing Finger Food (An Evening of Ten Minute Plays; BU Directing Class) and Game Night! The Musical (Hillsborough Shorts; Hillsborough High School Theatre Department) which she also wrote.  In her free time, Kate balances her multiple majors, clubs, social life (insert laughter here) and questions her sanity.

Five Questions for David A. Miller, Director

David A. Miller is a theatre & dance division faculty member and Director of The Nosemaker's Apprentice. We asked him five questions.

King Duncan received Macbeth and Banquo
in Macbeth, directed by David A. Miller, Fall 2014

What first interested you in directing?
I believe that I began my theatre experience in Cub Scouts. We would do skits for the Pack Meetings and on camping trips. I have a vague memory of wanting to rehearse the skits more than the other scouts. I knew that we could get more out of the comedy… I was trained first as an actor, but by the end of undergrad I began to shift my focus to directing.

What do you find interesting about The Nosemaker's Apprentice? 
This play is fantastically ridiculous. As the playwrights guided us, it is a great chance to be shameless. As long as we are grounded in some sort of emotional truth we get to take things as far as we can. I love that freedom. And I love this style of comedy—the mix of highbrow and lowbrow, the mix of family friendly and far-from-family friendly humor.

Where have you found your inspiration for directing The Nosemaker’s Apprentice?
My love of Monty Python’s Quest for the Holy Grail, the Naked Gun series, Princess Bride and other comic sources have been great guides and inspiration. I always do a lot of research and the visual images that I find are pretty important in my understanding of the play and to how I share my understanding of the play with designers in early meetings. Several quotes from the play have been driving forces as well, including “You never know what horrors may be revealed to you when the masks be lifted and bandages unfurled.” and “…they lived short, brutish lives filled with magic and wonder.”

Who is an artist you admire? Why?
There are many artists I admire, that’s for sure. The visual artist Anselm Kiefer is one who springs to mind. The work that he does is socially conscious and visually impactful. I love the work of actor Mark Rylance. The way that he really lives on stage is phenomenal. I admire director Arin Arbus for the clarity and heart that she brings to her productions of Shakespeare’s plays.

If you were a fruit or vegetable, what would you be?
I would like to be a star fruit. There’s something so unique about it. I don’t know that I would be a star fruit, but I aspire to be a star fruit.

David A. Miller is a director, playwright and educator in his third year of teaching for the division of theatre and dance at Bloomburg University. He is a resident director for Amphibian Stage Productions in Fort Worth, TX (where he directed The Nosemaker’s Apprentice this past summer) and is the former founding artistic director of The Artful Conspirators in Brooklyn, NY. David is also a big fan of visual art and loves spending time in museums and galleries.