Dialing Back Ramps Up The Effect In Misery

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Dialing Back Ramps Up The Effect In Misery
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A somewhat different approach makes the Dirt Dogs Theatre production of Misery all the more compelling. DirtDogsTheatre

What a thrill the stage adaptation of could have been if it had something to say about toxic fandom and the psychological perils of celebrity worship.Instead, the play based on the 1987 Stephen King novel and heavily informed by the successful 1990 film version, regurgitates what we’ve already read and seen. A famous novelist held captive by his deranged super fan.

Romance novelist Paul is rescued from a mid-blizzard horrendous car accident in rural Colorado by his self-proclaimed number-one fan, Annie . A former nurse, she recognizes his shattered legs and dislocated shoulder and drags him back to her isolated home to tend to the wounds. What makes this production so clever is that while the action ramps up to 11, the cast holds steady at 7. This isn't the over-the-top fabulously unhinged Kathy Bates and uber-smarmy James Caan movie version many of us are familiar with. Instead, Barber and his cast zig where the movie zagged.

Cone still must deliver the show’s most incongruous dialogue, smart mouthing when he should be terrified. Getting laughs when his life is on the line. Able to play mind games despite his debilitating pain. But he too pulls it back to make it more believable.

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