McAulay Studio Until September 5

Looking Glass’ production of The Laramie Project is a no-frills play with a storyline that, while not without nuance, is clear and compelling. It’s also a production well suited to a studio space like McAulay, which relieves us the usual, distracting attempts to use space that isn’t there.

The actors’ task, while simple, isn’t easy. These eight people must retell a story that, eleven years ago, struck a nation and all but stamped the phrase ‘hate crime’ into the global consciousness -- Matthew Shepherd, a gay University of Wyoming student, was beaten to death by two of Laramie’s townspeople. Often the cast, wearing blacks, achieve this with no other props than a hat or different-coloured shirt. Each actor portrays a handful of characters of varying gender, sexual orientation, and personality.

In a cast of mixed experience, there are obvious stars. Michael Pizzuto shone with precise, vivid character sketches. More than once, his delightful Tiffany Edwards -- a ditzy young female reporter -- had us laughing out loud. But it was Pizzuto’s Latin-accented, hyperactive bar DJ, Shadow, that stood out as one of the finest -- if shortest -- performances of the evening.

Reuben M was most convincing as gruff, ‘ah-what-the-hell’ limo driver Doc O’Connor (brought to life by a flat cap, aviator sunglasses, and cigar) and moved undeniably as Dennis Shepherd, Matthew’s father. Where Reuben faltered was as the overcome hospital spokesman, who breaks down on camera while announcing Shepherd’s death. In a series of fine, effortless portraits, this one seemed a bit forced.

Gerome Samonte is the third in this trio of impressive talent, which challenged and lifted the ensemble throughout. His start as a police sergeant could have been stronger, but as bartender Matt Galloway, and especially as prison-mate to one of Shepherd’s killers, Samonte was powerful and very believable.

Part of what made these three excellent was the fluidity with which they handled nuances in voice and accent, stumbling blocks that evidently -- if forgivably -- distracted many of the other cast members.

The pace of the play was steady, and the actors used their movements well. So, even with a running time of nearly three hours, our attention just held til the end. The soundtrack -- from the Goo Goo Dolls Slide to Leonard Cohen’s Hallelujah -- is well thought-out. But the quality of scene-setting images and filmed news reports projected onto a screen at the back of the stage betrays the limited budget Looking Glass must have had for production. No matter, really, since this is an actor’s play. In that respect, it is easily the best we have seen from Hong Kong’s English-language theatre groups this year.

Samantha Leese