HAGERSTOWN, Md. – Downtown, flowers are blooming and spring is in the air, which may lead many residents to think of rebirth. Warmer temperatures and longer days can bring a sense of hope to perk up dreary winter moods. But anyone who wants to wallow a bit longer in the winter chill and indulge in some darker themes for a touch of catharsis, will find the perfect spot for it in the audience of “Misery: A Stephen King Story,” currently on offer from Authentic Community Theatre.
The Details:
Performances: April 3-19: Fridays and Saturdays at 7:45 p.m., Sunday (4/12 and 4/19 ONLY) 1:45 p.m.
Tickets: $25 General Admission, $55 for ticket and a full dinner at Veva’s – tickets only available at the door OR online, Book online for the dinner and a show option.
Location: ACT Black Box Studio, 43 S Potomac St., Hagerstown
Run Time: 2 hours and 15 minutes, including intermission
Content: The show would earn an R rating, primarily for several uses of the F-bomb and some other cursing. The stage violence is handled tactfully and would likely not disturb pre-teen or teen viewers. As always, families should research the show and make a decision based on their values.
About the Production:
While a Stephen King story may not seem like a go-to choice for early spring, Director and Theatre Artistic Director Scott Ruble is confident in its inclusion to the ACT season. The high stakes drama and name recognition should tempt new and returning audience members.
Ruble said, “I personally am thrilled to be directing this because I am a fan of a good thriller and being able to dive into the complexity of the script itself to bring even more heightened danger to the surface.”
King has been churning out modern classics of literary horror for more than three decades and “Misery” remains a perennial favorite. The stage version is adapted by William Goldman, from his screenplay for the 1990 film.
Goldman’s most recognizable writing credit is the pop-culture classic, “The Princess Bride” and his treatment of the King source material shares some of the cheeky humor of that film while still shoveling on the suspense needed to honor the original novel.
The plot of the story is simple. During an intense winter storm best selling author Paul Sheldon is in a horrible car accident. Luckily for him, local nurse Annie Wilkes is driving by. She is able to extract him from the wreckage and bring him to her house for emergency treatment. It turns out she is his self-professed “number one fan.”
If you are familiar with the book, the film adaptation, or Stephen King’s work in general, you probably know things get a little weird and a lot creepier from there.
The small cast and stationary setting are likely why Director Ruble maintains “This is a perfect show for our venue.”
As you enter ACT’s studio space you will experience a slightly different layout than their more recent productions. They often use seating on two sides of the playing area to maximize attendance in the intimate space. For this show the company has closed off one side, creating a more traditional proscenium setting.
This is just one of several smart technical decisions that create an atmosphere of ominous intimacy, inviting the audience to be a fly on the wall for the events about to unfold.
The set is small, but packed with details. A partial wall splits the playing space between a bedroom and kitchen. A platform creates a reading nook behind and above the bed. Two brick wall cut outs, a window frame, and the most adorable little green door are all that exists to implicate the entirety of Annie’s farmhouse, Props are chosen with care (and managed adeptly by the actors and crew member Allen Jenkins.)
The lighting, controlled by Stage Manager and Assistant to the Director Ollie Sage, feels natural as needed but also highlights moments of tension. An exceptional technical addition is the soundscape created by Ruble and his team. Musical choices during preshow and intermission give a sly wink to the plot. Sunny, big band era hits feel caught out of time and mirror Annie’s mental state to perfection. The sound effects used to create a world outside the set are well chosen and balanced.
Ruble said the “actors have put in a ton of work and refinement to their craft” and that effort is visible. The show is a mammoth task for Diana Arbrecht (as Annie) and Jacob Rudland (as Paul.) One or the other, and often both, are onstage for every second of the over two-hour run time. They prove up to the challenge through energy and skill that keeps the audience engaged in the roles without becoming worried for the health or focus of the performers.
Richard Dobson does have several appearances as the affable sheriff, Buster McCain. These scenes, where the sheriff proves he is sharper than his “aww shucks” southern charm implies, may give the audience a break from the tension filled verbal pas de deux between Annie and Paul, but they certainly don’t help Arbrecht or Rudland since both appear with him in every scene.
As Paul, Jacob Rudland accomplishes the difficult task of feeling sometimes flattered by Annie’s enthusiastic hero worship, while simultaneously knowing something is not quite right. Rudland particularly shines in physical scenes where the effect of Paul’s extensive injuries are put on full display.
The production chooses to avoid any graphic depictions of wounds. No dripping stage blood or gory prosthetic makeup to be found. While some may find this a departure from the detail and care in other areas of the production, it does make the more violent aspects of the show easier to digest for those who might be made queasy by too much body horror. In addition, Rudland’s matter of fact scene shifts serve to assure the audience that while Paul is certainly suffering, Jacob is doing OK.
Given that Kathy Bates won an Oscar for her portrayal of Annie Wilkes, it is easy to imagine tackling the role would feel intimidating. There are no nerves to be seen in Diana Arbrecht’s winning characterization of Annie. She wisely avoids the more deadpan approach of Bates, and instead channels a rather manic optimism that shatters violently as challenges arise.
Albrecht’s interpretation of Annie’s religious morals feels particularly chilling and relevant with calls for book banning so often in the headlines. Albrecht’s earnestness and zealotry drive the stakes and keeps the action of the story moving so that the run time passes in a flash.
As for that scene from the movie – you know the one….THAT scene. If you are wondering if/how it made it to the stage……
Then you will need to join ACT in the studio for a performance to find out!
While tales of torture and obsession may not be the usual spring fare, this particular show should be on everyone’s April menu. It’s a frighteningly good time.
Sheriff Buck (Richard Dobson) may sense something is off, but Annie (Diana Arbrecht) is giving nothing away. Photo Credit: Love & Admire Photography
