The Man Who Shot Liberty Valance

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A famous line from the John Ford film The Man Who Shot Liberty Valance is spoken by the newspaper reporter character, Maxwell Scott, near the end of the film, after hearing the true story about the death of Liberty Valance. When asked if he will print the facts, Scott replies: “When the legend becomes fact, print the legend.”

These words do not appear in the original story by Dorothy M. Johnson nor the stage version by Jethro Compton. Still, they form the central theme of both. Compton’s play, The Man Who Shot Liberty Valance, directed by Thomas R. Gordon, is a beautifully realized revival of the 2022 production with most of the original cast. It is a classic story of the Old West presented by a solid ensemble. If you enjoy a good story, well-told, see this one.

It is important to understand the difference between legend and truth, or for that matter, fact. While both are narratives relating to some event, legend comes from fact; it is often a mixture of fact and fiction. Whereas legends are, in a sense, a manufactured reality, mainly used to inspire, entertain, or impart moral lessons, truth is concerned with reality and is foundational to knowledge and understanding. This story recounts how a man believed to be the hero who killed a notorious criminal became a legend.

The opening scene introduces four of the story’s principal characters. Ransome “Rance” Foster (Leighton Samuels) is an educated man from the east who arrived in the town of Twotrees, being carried, unconscious, by Bert Barricune (Samuel Shurtleff) and Jim “The Reverend” Mosten (Daniel Kornegay) into a saloon owned by Hallie Jackson (Mari Blake). It is revealed he had an unfortunate encounter with the bully Liberty Valance (Derek Jack Chariton) and his gang who left Foster to die.

While the primary theme of Johnson’s short story and Compton’s adaptation is the same—reality versus legend—there are subplots that add to the dramatic arc. A developing romantic relationship between Rance and Hallie is deftly set against the unrequited love of Hallie by Bert. At one point, Bert very pointedly tells Rance: “She’s my girl, Foster. You know that? She’s my girl.” This moment in the show, where Bert reveals his feelings for Hallie, also introduces a direct threat to Rance when Bert pulls his gun after being challenged about Hallie’s feelings for him. The tension between Bert and Rance will carry through the entire story. However, there will be a moment with Bert and Hallie that changes the animosity Bert feels towards Rance.

The character of Rance Foster represents a time when American men looked to the West as a place to escape from the stress of dealing with the pressure and congestion of city life. It was the idea of freedom afforded by wide-open space and an opportunity to define oneself without the intrusion of social norms.

Foster is an educated man with a desire to wander in search for meaning in his life. The chance meeting and attraction to Hallie introduce a serious obstacle to his wanderlust, and his growing affection for her will ultimately lead to his decision to stay in Twotrees and teach the children and adults to read.

As word of Rance’s teaching spreads in the territory, Liberty Valance sees it as a direct challenge to his control, but this will not be the precipitating action leading to his showdown with Rance. The thing triggering the showdown is a horrible crime Liberty and his gang commit against Jim “The Reverend” Mosten, a man Rance considers to be his friend. The confrontation between Liberty and Rance becomes the stuff of legend.

Chariton’s characterization of Valance in the saloon with Jim, is chilling, and outstanding, showing Liberty to be exactly as he was described to be earlier in the play as a mean, intimidating thug. Chariton’s depiction is more powerful later when Valance meets Rance in the saloon with the intent of killing him in a duel.

Samuels gives a solid portrayal of Rance as a man driven by anger, struggling to control his fear of the gun fight that is to happen. Chariton, in contrast, presents a man who is calm, almost laid-back in attitude and surprisingly articulate in conversation, with a depth of emotional detachment seen in a sociopathic personality. It is far darker and disturbing than a brash, physically intimidating individual, and it is done with devastating effect.

The other three cast members give powerfully focused performances, with Blake’s embodiment of Hallie being the strongest. She is entirely believable as a frontier woman surviving in what is a rough and tumble man’s world; tough when needed, sensitive and understanding at other times, and always in control of her emotions. Shurtleff is Bert Barricune, a tough, emotionally guarded man with a supportive and sensitive side, especially when it comes to Hallie. Rounding out this outstanding ensemble is Kornegay as Jim Mosten, known as The Reverend. He not only gives us a believable character, but shows he is a fine singer when he sings a gospel tune before The Reverend’s fateful meeting with Valance and his gang.

The remainder of the ensemble gives well-tuned support for the principals. Scott Zimmerman portrays Marshall Johnson, a character who cowers in the face of evil, while Dillon Collins plays the intrepid reporter Jake Dowitt, who maintains the legend after discovering the truth. Emily Cummings and Ben-David Carlson round out the cast, playing several of the background characters.

The western saloon design by Nino Amari is perfect for the story. Lighting designer Reid Sullivan provides excellent support for the action, including special lighting effects that underscore important aspects of certain scenes. Susan Yanofsky’s costume design is period-perfect, especially in the various dresses worn by the women.

And so, a story that starts with a question of who shot Liberty Valance ends with the legend eclipsing the truth. It is a well-told tale by a terrific ensemble guided by Gordon’s excellent direction.

The Man Who Shot Liberty Valance (through July 26, 2025)

The Gene Frankel Theatre & The Onomatopoeia Theatre Company

The Gene Frankel Theatre, 24 Bond Street, in Manhattan

For tickets, call 212-777-1767 or visit http://www.onthestage.tickets/show/the-onomatopoeia-theatre-company/6834cc46f99f490f4ee4dd41

Running time: two hours and ten minutes including one intermission