85 pages • 2 hours read
Moises KaufmanA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
Summary
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Act III opens with “Snow,” which is set on the day of Matthew Shepard’s funeral. Matt Galloway tells us that it snowed, and that so many people attended the funeral that they couldn’t fit into two churches. The priest begins an Easter liturgy, which deals with Christ’s resurrection. There is a call and response, which is interspersed with Tiffany Edwards’ observation that, at the time of the funeral, they had the worst storm anyone could remember; tees fell and the power was out for days. Another reporter, Kerry Drake, says that the most dramatic part of the funeral was the protest by the Reverend Fred Phelps of the Westboro Baptist Church. Kids started shouting at the protesters while people lined up for the funeral. Phelps claimed that this wasn’t just another murder, but that “fags” (73) were trying to make Matthew into “a poster boy for the gay lifestyle” (73). The narrator tells us that when the theatre company returned to Laramie six months later, for the trial of Russell Henderson, Phelps was there too. Matthew’s friend Romaine decided to do something about Phelps’ protest and, along with some friends, she dressed as an angel with huge wings. These angels then surrounded Phelps and his supporters, and turned their backs to them, hiding them from view. She reveals that she is a lesbian and that she wanted to offer a message of “peace and love and compassion” (74). Phelps believes it is his mission to “‘show my people their transgressions’” (74) but Romaine just bought her angels ear plugs to drown him out.
In “Jury Selection,” Trish Steger reflects on the effect that hearing potential jurors confirm they would be willing to put you to death would have had on Russell Henderson. She also reveals the deep seated reluctance of many Laramie residents to sit on the jury.
“Russell Henderson” offers an account of Russell’s, in which he changed his plea from “not guilty” to “guilty.” This moment also includes an excerpt from a statement by Lucy Thompson, Russell’s grandmother. She extends her sympathy to the Shepard family and asks the judge to show mercy when sentencing Russell, so that he is not taken “completely out of our lives forever” (76). Russell himself also makes a statement, expressing his sympathy to the Shepard family and his remorse. However, the judge questions the sincerity of these sentiments and even wonders if Russell understands the true extent of what he’s done. He sentences him to two consecutive—rather than concurrent—life sentences. After the sentencing, the theatre company speaks to Russell’s former homeroom teacher; he is a family friend and even ordained Russell a priest in the Mormon Church. After Russell was sentenced, the Mormon Church held a disciplinary meeting and excommunicated him, which means that his baptism has effectively been erased. This seems to have helped Russell comprehend just how serious a transgression he has committed. However, his teacher will continue to support Russell, in light of their shared faith and his friendship with Russell’s family.
In the opening part of Act III, there is a sense that the personal dimension of this tragedy is being laid to rest with Matthew’s body and attention is turned to what is at stake socially and politically. This is made particularly evident by Reverend Fred Phelps and his supporters, whose protest at Matthew’s funeral is an attempt to deny both that Matthew’s murder was a hate crime and, by extension, to deny the rights of LGBT people. The scene of his funeral becomes a battleground for the meaning and significance of Matthew’s death.
Closer to home, the people of Laramie are faced with the prospect of judging one of their own and, potentially, condemning him to death. Interestingly, there seems to be both a reluctance to sit on the jury for Russell’s trial and, among those who agree to take on that task, a willingness to apply the death penalty.
The two statements that are reproduced from the trial—Russell’s own, and his grandmother’s—speak of sympathy and mercy, seemingly in the hope of reducing Russell’s jail time. This is ironic, given that it was Russell’s failure to sympathies with or have mercy on Matthew Shepard that has brought about his trial. The judge calls the sincerity of Russell’s statement into question and wonders whether he has yet come to terms with what he has done. This possibility is reinforced by Russell’s former teacher, who tells the theatre company that Russell was shocked and hurt to be excommunicated from the Mormon Church, suggesting that he had not previously considered the significance of his crime. At the same time, the decision of the Mormon Church to take Russell’s name “off the records of the church” (77) seem like a tactic to distance the church from the horror and controversy of Matthew’s death, without actually coming out and condemning it.