BroadwayRadio Podcast Summary

Episode: Class Notes: Thomas Gordon (The Man Who Shot Liberty Valance)
Release Date: July 11, 2025
Host: Lauren Clash Schneider
Guest: Thomas R. Gordon, Director of The Man Who Shot Liberty Valance at the Jean Frankel Theatre

Introduction to the Play

The episode opens with Lauren Clash Schneider introducing Thomas R. Gordon, the director of the stage adaptation of The Man Who Shot Liberty Valance. This play delves into classic Western themes of good versus evil, the tension between law and order versus intimidation and violence, and the individual struggle against a formidable antagonist.

Lauren Clash Schneider [00:04]:
"Hi, I'm Lauren Clash Schneider with Clash Notes for Broadway Radio. I'm here with Thomas R. Gordon, the director of The Man Who Shot Liberty Valance, playing at the Jean Frankel Theatre. Good afternoon."

Thomas R. Gordon [00:18]:
"Good afternoon, Lauren, and thank you for having me."

Character Analysis: Liberty Valance

Lauren initiates a discussion about the central antagonist, Liberty Valance, seeking to understand his character.

Lauren Clash Schneider [00:21]:
"This play is a classic tale of good versus evil, of law and order versus intimidation and violence, of one man versus Liberty Valance. So who is Liberty Valance?"

Thomas R. Gordon [00:35]:
"Liberty Valance is essentially a Southern gentleman, but also a criminal and a thug. And that is my opinion. But he is essentially an outlaw who is very unhappy about the idea of education, as well as law and order and government and bureaucracy coming out into the Western territories in America in the 1890s."

Gordon portrays Valance as a complex antagonist—a blend of civility and brutality—who resists the encroachment of structured society and governance into the Wild West.

Character Development: Ransom Foster

The conversation shifts to Ransom Foster, a pivotal character whose journey embodies transformation and resilience.

Lauren Clash Schneider [01:08]:
"A character named Ransom Foster is described as a scholar from New York City who arrived in the town of Two Trees bloody and beaten. In the course of the play, how does he change? And what changes for him?"

Thomas R. Gordon [01:24]:
"After he has been brought into town and he is healed up a little bit, he ends up starting a school in the town for people who can't read. Two of his students are some of the people who helped him when he was first brought into town: Hallie Jackson and Jim Moston. Jim, an African American man, becomes Foster's best friend in town, showcasing his exceptional talent for reading. Ransom Foster also develops a romantic relationship with Hallie Jackson, which culminates during the second act when Foster faces direct threats from Liberty Valance."

Foster's evolution from a wounded scholar to an educator and community pillar highlights themes of redemption, education, and the fight against oppression.

Adaptation and Inspiration

The discussion then explores the origins of the play and its adaptation from literature to stage.

Lauren Clash Schneider [02:23]:
"The play is written by Jethro Compton, based on a short story by Dorothy M. Johnson, and was the basis for the 1962 film starring James Stewart and John Wayne. How do you know of Jethro's play, and why do you feel it's the time to present it?"

Thomas R. Gordon [02:48]:
"I was given the script by my friend Samuel Shurtliff, who insisted I produce it and expressed his desire to play the character of Bert. During our first rehearsal, Jethro Compton shared that many directors and producers have approached him similarly, often with actors wanting to take on roles. Gordon believes the play is timely because it mirrors contemporary issues in America, such as the balance between law and order versus vigilante justice, racism, bigotry, and the perceived dangers of educating the populace."

Gordon emphasizes the enduring relevance of the play's themes, making it a poignant piece for modern audiences.

Influence of the 1962 Film

Lauren inquires about the impact of the classic film adaptation on the stage production.

Lauren Clash Schneider [04:07]:
"Have you seen the film?"

Thomas R. Gordon [04:09]:
"Oh, yes, multiple times."

Lauren Clash Schneider [04:11]:
"Did it inspire you or influence how you directed the piece?"

Thomas R. Gordon [04:16]:
"Yes and no. I watched the film as a child, but when directing the play, I purposefully avoided re-watching it to maintain my own artistic vision. I didn't want the actors to mimic Jimmy Stewart or John Wayne. Instead, we aimed to find our own voice. Additionally, Jethro Compton's script adheres more closely to Dorothy M. Johnson's original short story, whereas the film took creative liberties, particularly influenced by John Wayne's persona. While I love the film as a classic Western, our production distinguishes itself by staying true to the short story."

Gordon intentionally differentiates the stage production from the film to preserve the original narrative's integrity and foster a unique theatrical experience.

Casting Process

The conversation moves to the logistics and philosophy behind the casting of the play.

Lauren Clash Schneider [05:32]:
"It's also a big cast with nine actors. Tell us about your casting process, well, besides Bert."

Thomas R. Gordon [05:42]:
"This production is a revival of the one I directed in 2022. I held open auditions for each role, including Bert, although I wanted my friend Sam to audition for Bert specifically. Many Equity actors from the previous production were offered roles again, and most accepted. However, we had to recast three roles due to some actors relocating. Maintaining an open audition process ensured that the production brought in fresh talent while also honoring the commitment of returning actors."

Gordon underscores the importance of both leveraging established relationships and welcoming new talent to enrich the production.

Directing Philosophy

A significant portion of the interview delves into Gordon's approach to directing and fostering a collaborative environment.

Lauren Clash Schneider [06:52]:
"What do you like best about directing?"

Thomas R. Gordon [06:54]:
"Directing has been my passion since I was nearly 20. My background spans acting, lighting, sound, and other technical roles, giving me a comprehensive understanding of the production process. This experience allows me to communicate effectively with all team members. I thrive on creating a collaborative environment where actors feel free to explore and bring their natural instincts to their performances. My goal is to set up a 'playground' within the framework of the script, enabling actors to express themselves authentically rather than strictly adhering to my directives."

Gordon's holistic understanding of theatre production and his emphasis on actor autonomy highlight his commitment to a dynamic and inclusive creative process.

Conclusion

The interview concludes with Lauren expressing her appreciation for the discussion.

Lauren Clash Schneider [08:58]:
"Well, this is great, and I thank you."

Thomas R. Gordon [09:02]:
"Thank you as well. It's been very wonderful speaking with you, and I really appreciate the opportunity."

Lauren Clash Schneider [09:07]:
"I'm Lauren Clash Schneider with Thomas R. Gordon, the director of The Man Who Shot Liberty Valance playing at the Jean Frankel Theatre. Thank you."

Episode Synopsis

In this insightful episode of BroadwayRadio, host Lauren Clash Schneider engages with Thomas R. Gordon, the director of the stage adaptation The Man Who Shot Liberty Valance. They explore the depths of the play's characters, particularly the antagonist Liberty Valance and protagonist Ransom Foster, delving into themes of morality, education, and societal structure. Gordon discusses his motivations for adapting Dorothy M. Johnson's short story, distinguishing his production from the iconic 1962 film. He elaborates on his inclusive casting process and shares his directing philosophy centered on collaboration and authenticity. The episode offers a comprehensive look into the creative decisions and thematic relevance that make this production a noteworthy addition to contemporary theatre.