Obsession Unleashed: Onstage Adaptation of Steven King’s “Misery” Delivers the Perfect Halloween Thrills

SALT LAKE CITY—Misery, adapted by William Goldman from Stephen King’s chilling novel, springs to life in a compelling co-production by Lil Poppet Productions and Immigrant’s Daughter at the Dolores Doré Eccles Ceramics Center. Directed by Morag Shepherd, this gripping psychological thriller unfolds as a battle of wits and wills between novelist Paul Sheldon, played by Tyson Baker, and his “number one fan” Annie Wilkes, brought to life by Stephanie Stroud. This production captures the raw intensity of King’s story, delivering a suspenseful and immersive experience.

The plot centers around Paul Sheldon, a famous author recovering from a car accident in a remote Colorado cabin. His rescuer, Annie Wilkes, initially seems to be his savior, but her true intentions soon become evident. As Annie’s obsessive nature is unveiled, Paul realizes he is trapped in a life-or-death struggle. Shepherd’s direction ensures that the tension never lets up, using tight pacing and carefully orchestrated reveals to keep the audience on edge. The scenes pulse with a sense of dread, echoing the claustrophobic isolation of Paul’s predicament.

Tyson Baker’s portrayal of Paul Sheldon is remarkable, masterfully capturing a nuanced blend of vulnerability and determination. From the moment he appears, confined to a hospital bed, Baker’s physical performance conveys an authentic sense of helplessness that resonates deeply. His struggles to move, whether it’s the painstaking effort to shift in bed or the subsequent challenges of navigating a wheelchair, bring an added layer of realism to his character.

Baker’s vocal work adds to the visceral impact of his performance, with each pained cry and desperate plea striking the audience like a physical blow. His screams during the more excruciating moments are harrowing, embodying the agony and fear of a man fighting for his life. The raw emotion in his voice makes Paul’s suffering disturbingly real, heightening the tension and driving home the horror of his predicament.

Baker’s ability to embody both the physical and vocal aspects of Paul’s trauma is truly impressive; each subtle gesture, strained movement, and excruciating scream reflects the profound impact of his ordeal, drawing the audience into his plight. This complex portrayal invites the audience to empathize with Paul’s harrowing journey, making his eventual acts of defiance all the more powerful and justified. Baker’s performance not only enhances the believability of his character but also elevates the overall emotional intensity of the play, creating a gripping experience that lingers long after the curtain falls.

Stephanie Stroud’s portrayal of Annie Wilkes is nothing short of captivating, offering a chillingly nuanced performance that balances deceptive innocence and warmth with explosive bursts of psychotic rage. From the moment she steps on stage, Stroud commands attention, drawing the audience in with a seemingly gentle demeanor that masks the sinister depths of her character. Stroud expertly captures Annie’s unsettling charm, making her moments of tenderness feel almost genuine, which only serves to make the inevitable shifts into darkness all the more horrifying.

Stroud’s seamless transitions from compassionate caregiver to sadistic tormentor are particularly jarring, creating a palpable tension that keeps the audience on edge. Her tone can shift in an instant, from a sweet, sing-song reassurance to a venomous snarl, her eyes narrowing with a malevolent intensity that sends shivers down the spine. There are moments when Stroud’s quiet, almost childlike affection for Paul is so convincing that it lulls the audience into a false sense of security—only for her to lash out with terrifying unpredictability.

Stroud’s physicality also plays a crucial role in making Annie’s volatility believable. Whether it’s the unnerving calmness in her movements when preparing Paul’s medication or the sudden, violent outbursts during moments of rage, her body language communicates the constant danger lurking beneath Annie’s facade. Each mood swing feels like a trap snapping shut, making her threats feel all the more real. Stroud’s ability to embody these contrasting sides of Annie not only brings the character to life but also deepens the psychological horror of the play, keeping the audience captivated and unnerved from start to finish.

The realistic makeup effects by Varlo Davenport and Andrea Davenport further enhance the play’s visceral impact. Paul’s visible bruising and the convincing blood work make each violent encounter feel disturbingly authentic. The wounds gradually worsen as the story progresses, reinforcing the physical toll of his captivity and underscoring the brutality of Annie’s actions. The attention to detail in depicting Paul’s injuries—whether it’s the dark purpling of a bruise or the glistening of freshly applied blood—adds a layer of realism that heightens the horror, making the audience feel each cut and blow alongside him.

Alvaro Cortez as Buster, the local sheriff, provides a welcome contrast to the intensity of the central duo. Although his role is brief, Cortez brings a sense of grounded normalcy to the play, reminding the audience of the outside world and the slim chance of Paul’s rescue.

The production’s technical elements contribute significantly to the atmosphere. Savannah Garlick’s lighting design plays a crucial role, using shadows and dimming effects to heighten moments of suspense. The flickering lights and sudden blackouts are especially effective during Paul’s attempts to manipulate Annie or escape. Andrea Davenport’s costumes, especially Annie’s dowdy and unassuming outfits, underscore her outward appearance of innocence, contrasting sharply with her violent tendencies.

The set, designed by Stephanie Stroud, ingeniously transforms the ceramic studio basement into a tense, intimate stage where the audience is never more than a few feet from the action. Even the journey to the theater adds to the atmosphere; guests are greeted and then led down into the basement, where the stage is set with a hospital bed and Paul Sheldon already lying in it. The descent feels almost like stepping directly into Annie Wilkes’s world, instantly immersing the audience in the claustrophobic, unsettling atmosphere that will only grow more intense. The space’s unique configuration allows for a limited number of audience members, creating an exclusive, almost voyeuristic experience as the drama unfolds just inches away.

The tension begins to build before the first line is spoken. As the audience takes their seats, haunting piano music fills the air, setting a somber tone and heightening the anticipation. The weight of the moment is palpable; not a single person speaks, as if the air itself is thick with unease. This quiet, shared anticipation adds to the play’s immersive quality, pulling the audience into the narrative even before the action truly begins. The intimacy of the setting and the quiet expectancy in the room amplify every movement, every breath, and every note of the piano music, setting the stage for the psychological horror that follows.

Annie’s cabin is brought to life with painstaking detail, exuding a worn, neglected aesthetic that reflects the life of a lonely woman who has given up on maintaining appearances. Old taped up chairs, books and newspapers scattered, and medical supplies fill the space with an eerie authenticity, serving as constant, disconcerting reminders of Paul’s dire situation. The lived-in look of the set makes the audience feel as if they have stepped into a private, dangerous space where they are not meant to be—a voyeur to Paul’s suffering and Annie’s unraveling.

Varlo Davenport’s direction of the stage combat ensures that each violent confrontation is visceral and unrestrained, eliciting audible gasps from the audience, especially during the climactic moments. The brutality feels real, making the tension in the room palpable as the struggle unfolds before our eyes. The choreography is enhanced by the perfectly timed lighting and sound cues, which punctuate each blow and add to the unsettling realism. Whether it’s the sudden blackout during a tense escape attempt or the sharp crack of a broken object, the technical elements work together seamlessly to heighten the suspense and pull the audience deeper into the harrowing narrative.

Sound and marketing, handled by Morag Shepherd, further intensify the eerie atmosphere with subtle creaking of the house, the wind howling outside, and the occasional haunting melody of piano music that contributes to the play’s oppressive mood. This soundscape works in tandem with the visuals to create an environment where even silence can be menacing.

Running from October 24 to November 3, Misery couldn’t be better timed—this show is the perfect choice for Halloween. Its unnerving atmosphere and escalating suspense make it a fitting and thrilling experience for the season of frights. For fans of Stephen King, horror enthusiasts, or anyone looking for a spine-tingling night at the theatre, this production delivers chills that linger long after the final curtain.

Overall, Misery at Westminster University succeeds in translating the terror and psychological horror of King’s novel to the stage. This production is impressive in so many ways: this is a small cast and almost every member of the cast and crew are wearing multiple hats and doing a phenomenal job at each one. The production’s commitment to crafting an intimate, yet disturbing experience pays off, with each element working together to trap the audience in Annie’s world alongside Paul. The fact that audiences are capped at twenty people ensure the immersive experience of this basement setting will not be lost with too many watching. This adaptation not only delivers chills but also explores deeper themes of control, obsession, and survival. It’s a must-see for fans of King’s work or anyone seeking an evening of spine-tingling theatre.

Venue: Ceramic Building Basement at Westminster University

1840 S 1300 E #10—Cer

Salt Lake City, UT 84105

Dolores Doré Eccles Ceramics Center, Westminster University, Salt Lake City UT

Dates: October 24 – November 3, 2024

Tickets: Starting at $35. Purchase online through the Westminster University Box Office or directly on Lil Poppet Productions’ website.  https://www.tix.com/ticket-sales/MISERY/7633

Program: Here

Contact: For inquiries, contact the production team via email at info@lilpoppetproductions.com or call (801) 555-1234.

*Discounts for Students, Teachers, and Military, please email lilpoppetproductions@gmail.com for code.

Campus Map:

Content Warning:

Blood, Swearing, Violence, Thunderous Sound, Flashing Lights