Final showing of Misery Saturday

Gaslight-Baker Theatre

Saturday, Oct. 26, is the final appearance of Misery at the Gaslight-Baker Theatre in Lockhart.

Sponsored by Haunt Happy Books, GBT is presenting William Goldman’s adaptation of Simon Moore’s play Misery, based on the book of the same name by Stephen King. This play focuses on a tense, peril-fraught relationship between a novelist, Paul Sheldon, and his self-proclaimed “number one fan,” Annie Wilkes.

After a car accident in a snowstorm, Paul is “rescued” by Annie, who turns out to be dangerously obsessed with a series of his novels. As she nurses him back to health (while simultaneously threatening his health and life), she discovers the death of her favorite character in his latest book.

In significant duress, Paul is forced to draft a follow-up novel that resurrects the character which both leads to and is under the trauma of a psychological battle between the two. Skillfully constructed, this play explores themes of obsession, captivity, and the sinister side of fandom, culminating in a dramatic struggle for survival.

As is often the case, Gaslight-Baker’s production does not disappoint. Director Beth James skillfully draws the audience into a tense performance, rich with realistic portrayals of malevolent power, acts of mutilation, and escalating mental games between the two characters.

The tension is punctuated every so often by moments of humor, real connection, and inspiration, albeit induced by trauma. In her program foreword, James discusses the challenge of balancing horror with humor, stating, “Switching gears to horror has been a challenge, but it’s been such a fun ride trying to blend what I’ve learned from comedy into building suspense and thrills.”

The three-person cast effectively brings authenticity and depth to their roles under James’ direction. Cynthia Cruser (Annie Wilkes) stands out, showcasing her mastery of Annie’s rapidly shifting emotional states with refinement and believability.

Her mannerisms, physical portrayals of varied emotions, and dominant positioning in scenes are particularly effective in conveying her character’s power. Rob Novak (Paul Sheldon), confined to a bed or wheelchair for most of the scenes, effectively conveys his character’s confusion, dawning realization, distress, and frantic choices, all while limited in movement and placed in non-dominant positions.

Casey Prowell (Buster) captures the essence of an easygoing, well-liked sheriff who, thanks to his wit and resulting in his demise, discovers the captivity of Sheldon. 

Set on the apron of their proscenium stage, the production elements are impressively designed, particularly the set by Robyn Gammill.

The essence of a 1980s small home in the mountains is brought to life through meticulous detail: mismatched wallpaper in various rooms, a large hole revealing another design beneath, crooked pictures of Colorado scenes, a ubiquitous plastic Tupperware pitcher, cabinets painted in flat white, and a shabby area rug with stained fringe. Together, these elements create a space that feels slightly off, mirroring Annie’s character.

Notably intriguing is the inside-out aspect of the set, featuring a shingled roof and attic windows inside the house, along with a gravel walkway lined with stones right beside the bedroom. Kudos to the builders: Robyn Gammill, Luke Jenkins, Britt Jenkins, Tyler Neumann, Josh West, Doug DeGirolamo, Ahri Gammill-Beck, Martin Gammill-Beck, Van Calvert, Savannah Cervantez, Stephen Cruser, and Cynthia Cruser.

Other noteworthy production elements include Andrea Littlefield’s costume design for Annie, featuring jeans, flannels, heavy snow-type shoes, and cardigans; Doug DeGirolamo’s effective lighting and sound design that portrays snow through lighting and slideshow effects; and the fight choreography by Casey Prowell.

If you are looking for a spooky, tense experience for the season, I recommend Gaslight-Baker Theatre’s production of MISERY. Through the exceptional set design, the realistic acting, and James’ direction, this play balances horror and humor on a knife’s edge of suspense, delighting and thrilling the audience. A caveat: this production is not suitable for children, with scenes of abuse, violent fighting, a depiction of a gunshot, profanity, and other mature content.