Misery
ARTISTIC STAFF
SDC DIRECTOR
Christie Vela
SCENIC DESIGNER
Track Curtis
LIGHTING DESIGNER
Aaron Johansen
COSTUME DESIGNER
Raven Lanuza-Brown
PROPS DESIGNER
Phoebe Strunk
SOUND DESIGNER
Dylan Hearn
FIGHT DIRECTOR
David Salvador
GORE/SFX DESIGNER
Isa Flores
PRODUCTION STAFF
STAGE MANAGER
Kendalynn Clemons
PRODUCTION ASSISTANT
Jameson Black
CAST
ANNIE Tina Parker*
PAUL Cameron Cobb*
BUSTER LaQuintence Canady II
*Members of Actors Equity Association
Theatre Too at Theatre Three
Misery
by William Goldman
based on the novel by Stephen King
Directed by Christie Vela
My thoughts on Misery or…that other, less optimistic, Annie
The sun won’t come out tomorrow, or the next day, or for a long time, if you are the injured writer of the Misery series of gothic romance novels, Paul Sheldon. You see this famous author is snow bound, bed bound, and sometimes literally bound by his “Number 1 Fan” the psychopathically obsessed Annie Wilkes.
The scenario is familiar to anyone who has read the Stephen King novel or seen the movie starring Kathy Bates and James Caan. But don’t stay away from this version just because you are familiar with the plot. Director Christie Vela, DFW’s Doyenne of Darkness with an in-depth knowledge of and appreciation for horror films, has created an unforgettable evening of thrills, laughs, and, with the aid of gore and special effects creator Isa Flores, some bloody good, genuinely frightening chills.
The downstairs, intimate Theatre Too space at Theatre Three provides the perfect spot for this twisted tale of an obsessed fan. The audience is so close to the action that it is an almost immersive experience.
Scenic Designer Track Curtis has the pink patterned wallpaper bedroom where Paul is “recuperating” looking like a little girl’s room except for the ironic crucifix hanging above the bed. He has also devised a clever hallway leading to Annie’s kitchen and a very realistic looking front door to Annie’s home.
Aaron Johansen’s lighting keeps the action in focus and provides a surprise or two. Sound Designer Dylan Hearn provides some appropriately inappropriate background music during the evening which caused me to laugh out loud a time or two. Disaster film theme “The Morning After” and the theme from the 70’s romantic film “A Man an A Woman” are just a couple I caught. And I can’t fail to mention the Liberace music that Annie loves so much which even includes “Moon River.” Breakfast at Annie’s most definitely ain’t “Breakfast at Tiffany’s.”
Costume Designer Raven Lanuza-Brown keeps the 80’s feel and does a particularly fine job with Annie’s outfits ranging from coveralls to a “modest” dress previously worn by her mother. I loved her choice of the t-shirt filled with cats for Annie, suggesting that on top of everything else, Annie is a crazy cat lady.
Director Vela has this three person play perfectly cast. They draw us into this weird world expertly and we are hooked from the beginning and become wary but willing passengers on this scary ride.
LaQuintence Canady II is the affable sheriff, Buster. Canady has the least experience of the three actors, but you would never know it from his confident, assured performance. Canady’s stage time is limited, but his Buster is a solid character, and he makes Buster’s growing concern for the situation and skepticism of Annie apparent.
Cameron Cobb can show physical pain on stage like no one I’ve ever seen. His struggles with his braced legs and injured arm and desperate calls for pain medication are palpable. The role of Paul is a tough one. In addition to showing Paul’s physical troubles, the actor must feign attraction and appreciation, be charming, plot and plan, and try his best to keep a psychopath appeased, all while in a constant state of fear. Stage vet Cobb does it all and makes us feel trapped with him in that small bedroom.
That last time I saw Tina Parker on stage she was playing a goat and playing Annie Wilkes, she convinced me she is the GOAT. What a performance this is. Her Annie Wilkes is an amalgamation of so many character traits it’s almost dizzying. She’s part childlike adoring fan explaining how much Paul’s Misery novels mean to her life, part caring nurse, part romantic playing her Liberace records. Then there are those other parts, the parts where her adoration of Paul turn to make him a “dirty bird” who killed off her favorite character, the parts where her patient becomes her prisoner and her caring turns to controlling and torturing. Parker gets us inside Annie’s mind skillfully. The joy of having Paul there is on her face, but so are her psychotic thoughts. Parker gives Annie a tic of touching her eyebrow when she is thinking or doesn’t quite understand a situation. It’s a small thing, but it’s something really good actors do when creating a character. I don’t think I’ve ever seen such a multilayered portrayal of a psychopath on stage until Parker’s Annie. She’s sympathetic in a strange way, but we can’t wait to see her taken down.
The aspect of Theatre Three’s Misery I liked best is that Director Vela doesn’t allow any echoes of the film. Yes, you are going to know the plot points, but everything else feels original and it is delectably dark fun. Misery would love your company.
photo by Jeffrey Schmidt
