The Number One Fan & The Dirty Birdy (IYKYK)
A Theater Review by Julinda D. Lewis
By: Virginia Repertory Theatre (Virginia Rep)
At: The Sara Belle and Neil November Theatre | Marjorie Arenstein Stage
When: August 31 – September 29, 2024
Ticket Prices: $39-$60.
Info: (804) 282-2620 or www.virginiarep.org
The 1990 film version of Stephen King’s, Misery was a memorable thriller – so much so that it earned Kathy Bates an Academy Award for Best Actress for her portrayal of Annie Wilkes. There are so many layers to Annie Wilkes, the antagonist of Misery, that in a 2022 interview King himself singled her out as his personal favorite among all the characters he has created. I generally go to see a show without any pre-conceived expectations – or at least, as few expectations as one can expect of one who sees as much theater as I do. I had read King’s book and I had seen the film directed by Rob Reiner, but I had never seen Misery on stage before, and I did have high-ish expectations for this production.
Misery, for all three of you who don’t know, tells the story of best-selling romance novelist Paul Sheldon who, after a horrible car crash, wakes to find himself in the home of former nurse Annie Wilkes who rescued him from a snowbank. The fact that she was available to do this because she – his self-described “number one fan” – had been stalking him for some time is eventually revealed. But soon becomes obvious that Annie is unhinged and her “care” takes a deadly turn when she discovers that, in his recently released novel, Sheldon has killed off her favorite character, Misery Chastain. Fueled by mental illness, Annie begins a campaign of mental and physical torture as only Stephen King could conceive.
I’ve read that numerous A-List actors turned down the roles of both Annie and Paul for the film version of Misery, and I don’t know if Rick Hammerly and Virginia Rep had similar troubles casting this play, but the casting of Susan Sanford as Annie Wilkes and Matt Meixler (in his Richmond debut) was inspired. I am not familiar with Meixler, but Sanford is a familiar face on Richmond stages. In Misery, I did not recognize Sanford on that stage – I saw Annie Wilkes.
Sanford’s portrayal of Wilkes – who, BTW, is supposedly based on a real-life nurse, Genene Anne Jones, a serial killer believed to have killed more than 50 patients, including infants and children – is chilling. She glides smoothly and unpredictably from modest and temperate to manic and then to depressed. She is simultaneously sympathetic in her illness and vile in her violent episodes.
Meixler is forced to work with severe physical restraints. For most of the play, he portrays the bedridden Sheldon, recovering from two broken legs and a dislocated shoulder. His pain is palpable, and radiates through the space almost like another character of its own. At one point Wilkes remarks that Sheldon is sweaty, and Meixler was probably genuinely clammy after his restrained exertions.
The only other character is Buster, the local sheriff. Buster is suspicious, but clearly this abduction and torture case is above his pay grade and his intellectual capacity. Buster, at one point, even seems to be developing a fondness for Wilkes; I guess that’s what happens when you live in a small, remote town and don’t get a chance to speak to many people. Andrew Firda plays Buster, with all due earnestness and a sprinkle of ineptitude.
Performed without intermission, Misery is well-paced and avoids being predictable even when you already know the story. (Granted, the stage version is not the same as the film version or the book, in several significant ways that I will refrain from spoiling; go see it for yourself and then compare.)
Kudos to Chris Raintree for a beautifully detailed three-sided set built on a revolving turntable. Highest admiration to the stage management, under the direction of Donna Warfield, for the quick changes that occurred seamlessly, even on opening night. (There was one moment when I thought I saw Annie when I wasn’t supposed to, but overall, the blocking and timing were skillfully executed with all the moving parts). More generous praise is due for Joey Luck’s chiller-thriller sound design and BJ Wilkinson’s shadowy and evocative lighting. All these element worked together with the precision of a fine Swiss watch to create a delightfully fearful night of theater – a noteworthy, strong start to the new Fall season.
———-
Julinda D. Lewis is a dancer, teacher, and writer who was born in Brooklyn, NY and now lives in Eastern Henrico County. When not writing about theater and dance, she teaches dance history at VCU and low impact dance fitness classes to seasoned movers like herself, and occasionally performs. Her most recent (ad)venture was the premiere of a solo work, The Waters of Babylon or Psalm 137 Revisited: a Post-Exodus Reflection in Movement Choreographed From Collective Memories for the debut of the Critical Race Theatre Project.
———-
MISERY
Written by William Goldman
Based on the Novel by Stephen King
Directed by Rick Hammerly
Cast
Annie Wilkes ……………….. Susan Sanford
Paul Sheldon ……………….. Matt Meixler
Buster (u/s Paul) ……………….. Andrew Firda
u/s Annie ……………….. McLean Fletcher
u/s Buster ……………….. Joe Pabst
Direction & Design
Direction ……………….. Rick Hammerly
Scenic Design ……………….. Chris Raintree
Costume Design ……………….. Marcia Millr Hailey
Lighting Design ……………….. BJ Wilkinson
Sound Design ……………….. Joey Luck
Projection Design ……………….. Dasia Gregg
Stage Management ……………….. Donna Warfield
Fight Direction ……………….. Casey Kaleba
Wig Design ……………….. Jeanne Nugent
Ticket Information
Box Office: (804) 282-2620 or www.virginiarep.org
Tickets range from $39 – $60
Run Time
The play runs for approximately 1 hour, 40 minutes; there is no intermission.
Photo Credits: Aaron Sutten
RVArt Review 