Considering Matthew Shepard with The Utah/Idaho Performing Arts Company Sings On Through the Darkness

By Tanner Tate

On Saturday, The Utah/Idaho Performing Arts Company’s mounted Considering Matthew Shepard, a tragic and hopeful oratorio about the life, death, and legacy of Matthew Shepard., Shepard, a 21-year-old young man from Wyoming was a victim of a hate crime that cut his life far too short in the Autumn of 1998. This oratorio first premiered in Austin, Texas in 2016 as a collection of poetry, music, and text, compiled by Craig Hella Johnson.

For those unfamiliar with the term ‘oratorio’, it might be described as a stage musical/concert hybrid. The show is written to be told through music, often with allegorical elements, and generally consists of an orchestra and choir, in performance attire rather than costumes, with a narrator assisting with transitions to help the audience stay connected to the story. The music propels the story, as characters in the story sing their lines into microphones, many times with scripts in hand.

This particular oratorio is a look at the tragic events that led to the death of Matthew Shepard, and the spirit of hope, community, and acceptance that many in the nation and worldwide developed in the wake of those events. The story begins with the choir taking the stage, and the orchestra (all performers names are listed below) beginning to play. The music recounts the ordinary circumstances of Matthew’s upbringing in Wyoming, “Ordinary Boy”, which was followed by an explanation of why the story should be told, “We Tell Each Other Stories”. This number was inspiring, as the chorus declared, “sometimes there’s a story that’s painful to remember.” Despite the pain, “…we try to find the meaning.”

The narrator, (Rob Lakau) begins his oration, and the events of Matthew Sheppard’s death and what followed are expressed through beautiful music, as details are painted in sound, personifying a fence that Matthew was bound to, a deer that was spotted close by him, the innocence that was lost in Matthew’s final hours, and even the night sky. Additional text is provided from the testimony of Matthew’s father at a court hearing, and toward the end of the show, Matthew’s own thoughts are speculated upon as he prepared to pass. The show ends with a celebration of humanity, “All of Us”, and a proclamation that humanity is determined to “sing on through any darkness.”

Considering Matthew Shepard is a beautiful example of an oratorio. The First Methodist Church is a lovely setting for a concert of any kind, and it was not the first time I have attended a musical showcase at the venue. My friend and I entered into a warmly-lit chapel, with seating arranged in a semi-circle of pews around a small stage nestled before a sizeable organ, which grasps at the vaulted ceiling. Stained-glass art depicting the Nativity scene and other Christian figures and events adorn both walls adjacent to the stage. Despite some slight discomfort that accompanies any prolonged seating on a wooden bench, the venue is comfortable and welcoming. Seating was unassigned, and the producers ask for a donation at the door.

The music had an unexpected variety, and range from beautiful classical and contemporary choral music, to soulful jazz, to country music from the Western Highlands of the United States. Each song is expertly performed, with the exception of one or two instances of the choir inching ahead of the instrumentalists, but these are trivial compared to the wonderful quality of music created. Accompanying the core group of soloists is the Salt Lake Community College Chamber Choir, and they live up to their name. When the voices from each musician combine to create sound, it brought chills to my spine on more than one occasion.

At the head of the performance stood Kathryn Thompson, who conducted and music directed the performers throughout the show. Thompson proved to be an expert in her craft, conducting in a confident and learned manner. A conductor is the cornerstone of an oratorio, and Thompson rose to the occasion beautifully. Joey Calkins has taken charge of the direction of the production. Though oratorios often do not require extensive stage direction, the movements of the performers in this particular production were smooth and rehearsed. Many times during a vocal or instrumental solo, the choir would exit the stage in an orderly fashion that did not disturb the rest of the music, or bring any sort of disconnect to the performance. Also behind the scenes were Jessica Benson as stage manager, Hillary McDaniel as sound designer and technician, and Kat Kellermeyer as house manager. Without these technicians, no stage production of any kind can exist.

The content of the show can be difficult to stomach for those unprepared for it. Though it is suitable for all ages, younger audience members may become agitated with the length of a show told entirely through music, running at around an hour and forty-five minutes. Though this production has a very limited run, I have no doubt that this oratorio will be around the corner before we know it. It is a story that needs to be told, and as such, it will be.

Considering Matthew Shepard is a celebration of life and hope while remembering the tragedy that took place in Wyoming in October of 1998. While much of the music exhibits pain and loss through lyric, much more of the music creates a sense of hope and togetherness. The production serves to humanize Matthew, delivering quotes from his mother such as, “You knew him as Matthew. To us, he was Matt,” and gives the audience reason to speculate on the idea that though we are all very diverse, maybe we’re not so different. At one point in the dialogue, the men of the ensemble took the stage and sang, “We are all sons of fathers and mothers,” in a remarkably stirring depiction of community despite differences. Toward the middle of the production, I decided to stop taking notes to enjoy the music and experience what The Utah/Idaho Performing Arts Company has created. I was glad I did. Matthew Shepard was a gay man, and was brutally murdered for it. This act shocked the nation, and showed us all though we may have different belief systems, faiths, truths, and lifestyles, we are all of one body. The lyrics say it best: “His heart. My heart. Your heart. One heart.”

Ensemble Chorus: Devon Whitmore Smith, Larry Collins, Maren Hansen, Austin Toney, Emily Nelson, Rob Luckau, Vincent Nguyen, Tyler Oliphant, Nikki Kendrick, Michele Howarth, Jacob Ericksen, Sarah Singer, Jason Sin, JoAnn Galloway, Marc-Julian Galicha, Melissa Head, Nikki Kendrick, Abish Noble, Austin Toney, Katrina Weiss, Ben Wright

Orchestra: Kelly Richardson – Violin, Jennifer Zeleny – Viola, Natalia Bell – Cello, Jake Bills – Bass, Ron Smith – Clarinet, Zach Hansen – Guitar/Keyboard, Stephanie Dunkley – Piano

Salt Lake Community College Chamber Choir: Kyle Adams, Isaac Bentley, Trey Bryner, Cassidy Callister, Lydia Crowther, Honey DuVall, Christian Hansen, Kevin Hill, Melinda Jackson, Leah Jensen, Megan Longmore, Sophia Micheel, Adrian Miller, Alida Nesbitt, Andrew North, Vincent Nguyen, Mia Pottle, Devon Whitmore Smith, Dustin Vaubel, Anna Woods, Faith Zitting-Goeckeritz.
Salt Lake Community College Chamber Choir Director: Tyler Oliphant

Utah/Idaho Performing Arts Company presents Considering Matthew Shepard by Craig Hella Johnson
First Methodist Church, 200 S 200 E, Salt Lake City, UT
October 26-27, 2018
Free Admission, recommended donation
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Considering Matthew Shepard Facebook Event