Claude Ryan (Rion) Towery
MFA in Directing
Southern Illinois University, School of Theater & Dance
2021 – Hay Fever by Noël Coward
Director, Claude Ryan (Rion) Towery
My vision for Hay Fever was to not create a divide amongst people, but to attempt to bring people together by showing them that no matter which socio-economic class system we belong, gender identification, or political party we support, we are not that different. We are more alike than we realize, and we all play games. I think after what we have all experienced in the last year and a half with the pandemic and the political climate in this country as well as the world, we could all use a laugh. A laugh at our own expense. I want the audience to watch this production and laugh, because they are witnessing and understanding, to some degree, the imitation of their own lives represented on stage, either through the Bliss family, their guests, or all the above. As I mentioned, my vision for this play is one of unity. A vision brought to life by the Bliss family and the games they play amongst themselves and with their guests. Games, that the audience no matter who they are, what socio-economic class they belong to, what race they are, what gender, what sexuality, etc., can all admit they have played.
02
As I took on the challenge of directing The Taming of the Shrew, I was aware that there were several points of view as well as opinions associated with the thematic concern of this play. However, I chose to focus on a theme that spoke to my own lived experience and personal truth. That truth is, until we as human beings learn to accept others, unconditionally, for who they are, both their good qualities and bad, disregarding the social norms that influence our choice of partner, we will not be able to obtain the true, deep, and soul fulfilling type of relationship we desperately desire. These qualities exist in both Kate and Petruchio. However, for Kate and Petruchio to develop an awareness and deep understanding of each other they must endure the trials and tribulations of interconnections. It takes this type of unyielding understanding, love, and above all compromise, displayed by both of these characters for one another that make this relationship possible. My vision for this play was to convey the message of hope. By hope, I mean that we will one day have the ability and the intelligence to achieve full acceptance and love for each other, not only in romantic relationships, but in all forms of human interaction. Because of the reasons listed above, I chose to employ mese en scène and Commedia techniqes, and an experimental post modern interpretation, gender bending the original characters of this play with an all inclusive cast. It was my desire to convey the message that sometimes it takes the patience, love, and understanding of someone from a different race, culture, and experience to teach us to be aware of our sometimes-destructive behavior, no matter how innocent. With the rampant use of social media, conspiracy theories, and other violent ways to divide us us socially, economically, and politically, it is vital to know and see that there are people who want to be untied.
2020 – The Taming of the Shrew by William Shakespeare
Director, Claude Ryan (Rion) Towery
2019 - Springtime by María Irene Fornés
Director, Claude Ryan (Rion) Towery
03
My vision and concept for Springtime was influecned by the play‘s thematic concerns, love, sacrifice, betrayal, and their abililty to incite conflict, resulting in actions between characters, ergo propelling the story forward. My directorial interpretation of this play was directly influenced by Fornes’s realistic approach as a visual artist, playwright, and director. I wanted to bring to the surface the play’s use of contrasting dualities, and it’s principal characters having contrasting sides, much like the contrasting environment in which they exist. The phrase I used to describe this contrast was, “There are two sides to every coin”, “Don’t judge a book by it’s cover”, and “Yin and Yang”. I wanted to inspire the audience, after they watched the production, to look at the characters differently from that of their original perspective. Overall, I wanted the audience to change their initial result/opinion of what they had witnessed, losing their habitual act of judging.
2022 - Godspell by John-Michael Tebelak
Director, Claude Ryan (Rion) Towery
Godspell was the first major musical theatre offering from three-time Grammy and Academy Award winner, Stephen Schwartz (Wicked, Pippin, Children of Eden), and it took the world by storm. Led by the international hit, "Day by Day," Godspell features a parade of beloved songs, including "Prepare Ye the Way of the Lord," "Learn Your Lessons Well," "All for the Best," "All Good Gifts," "Turn Back, O Man" and "By My Side."
A small group of people help Jesus Christ tell different parables by using a wide variety of games, storytelling techniques and hefty doses of comic timing. An eclectic blend of songs, ranging in style from pop to vaudeville, is employed as the story of Jesus' life dances across the stage. Dissolving hauntingly into the Last Supper and the Crucifixion, Jesus' messages of kindness, tolerance and love come vibrantly to life.
Boasting a score with chart topping songs, a book by a visionary playwright (John-Michael Tebelak) and a feature film, Godspell is a sensation that continues to touch audiences. Because of its small technical demands and minimal cast size, it has become a staple of theatre companies, large and small.
