In case you haven't seen the movie in a while (like me), here's the general story: author Paul Sheldon is in a car accident (or is it?) in rural Colorado, where he's been writing his latest novel. He's "rescued" by Annie, who calls herself his "number one fan" (scarier words have never been spoken). Except that Annie's fandom borders on obsession, and she lies to Paul about the conditions of the road and the phone line in order to keep him there under her control. While he's held up there, the latest in his Misery series of novels is released and Annie excitedly reads it. Until she reads the death scene of the title character, and then things take a turn. Already showing signs of abusive control towards Paul, she now forces Paul to unwrite Misery's death in a new novel, threatening to withhold pain medication and food. Things go from bad to worse, as Paul tries to escape and fails. And how this story ends... well, one good thing about having a bad memory is that you can watch something again and be surprised all over again.
I don't think I've seen anyone in this cast on stage before, and they're all fantastic. The majority of the play is a two-hander with just Annie and Paul claustrophobically trapped in a farmhouse. Recent L.A. transplant Megan Blakeley is making her #TCTheater debut with this show, and she's believably terrifying as Annie. She starts off sweet and thoughtful, with flashes of anger, slowly revealing someone who's fully unhinged. Tom Sonnek is a great Paul, portraying his initial confusion at the situation and ever-growing concern when he realizes Annie's sinister plans. And it's almost painful to watch him crawl around trying to escape, writhing in pain from Paul's many injuries. The two create an interesting and layered relationship that culminates in a realistic fight scene (choreographed by Aaron Preusse). Rounding out the cast is Tim Wollman as the town sheriff who pays a few visits looking for the missing author, with a bit of Columbo as he seems to know, or suspect, more than he lets on.
Lakeshore's Managing Director Megan K. Pence directs the play with a perfect tension-filled pace. There are a few moments of dark humor for a welcome release of laughter, but mostly it's just dark, and almost uncomfortable to watch at times (as it should be). The incredible rotating set is every bit the creepy rundown farmhouse, stuck in a time several decades earlier than the 1980s setting (Annie's wardrobe also shows her a bit behind the times, with long skirts and a shapeless cardigan). Much of the action takes place in Paul's bedroom, but when he escapes the room the set rotates to reveal the adjoining living room, rotating even further to show us the 1950s kitchen, where Annie and Paul have their "romantic dinner." The attention to detail on the set is fascinating, from the weird artwork to autographed photos of Paul to the creepiest prop - old dolls just sitting there staring. The lighting design takes us from day to night, from dim lamplight to all the lights on. And the sound design deserves much of the credit for the building tension, with sounds of startling thunder, uneasy rain, well-chosen songs between scenes, and just a general ominous feeling. (Scenic design by Mark C. Koski, props design by Brandt Roberts, lighting design by Tracy Joe, sound design by D’aniel Stock, costume design by Meghan Kent).
A fan kidnaps her favorite author and forces him to write a book to her liking - it's an appealing idea; what Game of Thrones fan doesn't want to lock George R.R. Martin in a room and make him finish what he started over 30 years ago? And I certainly have my literary character obsessions whom I never want to die (Diana Gabaldon better hire a team of bodyguards if she ever kills, or even breaks up, Claire and Jamie). But in the hands of Stephen King via William Goldman via the Lakeshore team, these almost relatable impulses of a fan become a nightmare. But an entertaining one that's fun to be on the outside of. Get a glimpse in the video below and then get your tickets to the show before it closes on February 9.
