Review: Brilliant American Premiere of THE MAN WHO SHOT LIBERTY VALANCE Extends One Week Until March 26

The Man Who Shot Liberty Valance/by Jethro Compton/based on the short story by Dorothy Johnson/directed by Jenny Sullivan/Rubicon Theatre, Ventura/extends through March 26 only

How often do you see an American western onstage? Especially one that was a famous John Ford film in 1952 The Man Who Shot Liberty Valance! Both the film and the stage play are adapted from a short story by Dorothy Johnson about the American west in 1890-1910. The names of the characters in the film are slightly different from those in the play, but the plot is basically the same. What seem to matter more than plot are the historical, cultural, political themes that the story exudes. Now onstage at the Rubicon Theatre in Ventura, in its American premiere, The Man Who Shot Liberty Valance is helmed by uber skilled director Jenny Sullivan and boasts a stellar cast. Due to critical acclaim, the production has extended one more week until Saturday March 26!!

Everyone went west in the late nineteenth century to mine for gold, to make their fortune. What was there when they arrived was uncivilized territory, in desperate need of education, and some form of stability in government and law. Crime was rampant; criminals like Liberty Valance (Jeff Kober) were unstoppable. They, not the marshals, ruled what went on, and if it looked like a refined form of government with a finely honed system of justice were about to enter, they killed to prevent it. When lawyer Ransom Foster (Jacques Roy) comes to Two Trees, he is violently attacked and left for dead by Valance outside of town. Bert Barricune (Gregory Harrison), the elder cowboy who looks out for Hallie (Sylvie Davidson), a fiercely independent girl who owns and runs the Prairie Belle saloon, saves the day by literally picking Foster up off the ground and carrying him to the saloon. He saves Foster's life, only to have Foster fall in love with Hallie - Barricune's girl. It's not only a triangle of love that results, but Foster's intelligence is challenged - he carries with him a stack of books - when saloon worker Jim, nicknamed Reverend (Dorian Logan), who is illiterate...and also black (negro in those times), takes an interest in hearing great works of literature like Shakespeare read aloud. He has a remarkable talent. He can remember and recite Shakespearean sonnets immediately after hearing them. Foster wants to teach Jim to read and agrees to set up a class in the saloon, if Hallie, also illiterate, will learn as well. She reluctantly agrees, only because she is slowly falling for Foster. Word spreads through the territory and Valance and his gang ride to Two Trees to stop Foster's endeavors to bring civilization to the town. In Foster's and Hallie's absence, Valance's boys lynch Jim, as no negro should get above himself... and the revenge on Valance begins.

Playwright Jethro Compton has fashioned some electric scenes. Hallie's brusque reactions to Foster are telling about the sadness in her past, and there is great romantic friction between the two all the way up to where they finally confess their love for one another. Scenes where Foster is attempting to learn to use a gun via Barricune's caring instruction are humorous and fun to watch. The development of Barricune's character as a real hero is subtle at first, then wins our hearts at play's end. Starting the play with his funeral in 1910, then flashing back to 1890 and finally returning to the funeral in the last scene of the play really puts him in the spotlight and pays homage to a prairie man's loving ways. It makes one appreciate the value of the uneducated cowboy. Also, there's a terrific scene between Valance and Foster right before their duel, in which Valance shows a somewhat intelligent side to his violent personality. He accepts Foster for who he is, but explains that he does not agree with it. "If the law intrudes when I'm old, maybe then I won't care anymore." But now? Watch out! There is also a dynamite reference to politics in Valance's speech with Foster. He is almost instructing him on what it takes to be a good, winning politician. "No yelling!" If he could only see today's candidates by comparison! Compton brings out the humor, flaws and intelligence in all of these men regardless of their educational backgrounds.

Under Jenny Sullivan's even staging and perfect pacing, the cast are uniformly solid. Davidson makes Hallie strong, feisty and even brash at times, yet terribly likable throughout. With such a downtrodden past, who would not root for her happiness? Roy brings out the arrogance and confusion in Foster; Harrison is equally complex in his delivery, creating lots of surprises. Kober is wonderful as Valance, a complex symbol of control and selfishness. Joseph Fuqua as Marshal Johnson has just the right off-center quirkiness to make the lawman's flawed, easy going style believable. Logan is just perfect as Jim, all eagerness and fear, a victim waiting to be stepped on. Bravo as well to the other members of the ensemble! Thomas S. Giamario's set design of the saloon is simple but functional and Alex Jaeger's costumes are period perfect, especially pretty choices for Hallie. Let's not forget Trevor Wheetman, the musician extraordinaire who plays both violin and guitar throughout. His original music adds so much to the tone and texture of every scene of the play.

The Man Who Shot Liberty Valance is tight, taut and terribly engrossing theatre from start to finish. It brings us into unknown territory, but even though the surroundings may be unfamiliar, human nature is not. It is nice to see bits and pieces of humanity in even the most lawless of minds.

NOTE: Due to critical acclaim, this production has extended one week to Saturday, March 26!!

www.rubicontheatre.org

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