Review: STEPHEN KING'S MISERY at Argenta Contemporary Theatre in North Little Rock

I knew as I was heading to Argenta Contemporary Theatre (ACT) that I was going to love their version of MISERY, but—OMG! What a deliciously intense night of theatre! We were laughing, gasping, shouting at the stage, and practically squirming in our seats during the very first preview performance. The audience was all in, and the actors embraced every reaction, leaning into the madness without missing a beat. This is what I love about live theatre! Directed by Brandon P. Eells, Stephen King's twisted tale has found an intimate  home at ACT in North Little Rock, and if you're a psychological thriller fan, this is the show to see! Running through November 1, MISERY is the perfect addition to my favorite theatrical season—October!

Based on Stephen King's bestselling novel and adapted for the stage by William Goldman, MISERY follows novelist Paul Sheldon (Coburn Goss), who is seriously injured in a car accident and rescued by Annie Wilkes (Mary Twedt), a former nurse who happens to be his self-proclaimed number-one fan. Annie brings Paul to her secluded home to recover, but her hospitality takes a sinister turn when she discovers that he has killed off her beloved fictional character, Misery Chastain. Determined to force Paul to rewrite the story, Annie transforms from devoted admirer into terrifying captor, leaving the injured author desperately searching for a way to escape.

 According to the Playbill, MISERY marks Mary Twedt's return to the stage after 28 years, but you could have fooled me! From her first moments as Annie Wilkes, it was clear she hadn't lost an ounce of her theatrical instincts. This woman is a powerhouse! Twedt embraces the deliciously deranged character with a performance that is equal parts terrifying, unpredictable, and wickedly entertaining. She shifts from Annie's childlike adoration for Paul to explosive rage so convincingly that you never know which version of her you're going to get next. And let me tell you, I did not want to make eye contact with that woman! There were moments when she looked so completely unhinged that I was convinced she might come flying off that stage and unleash her fury on any one of us! Her piercing expressions and commanding presence made Annie frighteningly real. Twedt doesn't simply play Annie Wilkes—she is Annie Wilkes!

Now, I knew Coburn Goss as the Artistic Director of ACT, but MISERY was my first opportunity to see him perform, and boy, did he make an impression! As Paul Sheldon, Goss delivered a physically demanding performance that had me believing he was genuinely in excruciating pain. Every grimace, strained movement, and desperate attempt to reposition himself made me wince right along with him. Confined to a bed or wheelchair for much of the production, he used his facial expressions and body language to communicate Paul's fear, frustration, and determination to survive. Even in silence, his reactions revealed the character's struggle to anticipate Annie's next move. I found myself rooting for him and occasionally shouting advice when he made questionable decisions! I already admired Goss for his leadership at ACT, but now I have a whole new appreciation for his talents as a performer.

 Jason Scott Morgan brought just the right amount of investigative energy to MISERY as Buster, the local sheriff whose search for the missing Paul Sheldon leads him dangerously close to uncovering Annie's secret. Morgan was especially effective in the quieter moments, allowing his expressions to reveal Buster's growing suspicions. You could practically see the wheels turning as he connected the clues. And when Buster was shot—oh my goodness! The gunshot looked and sounded so realistic that it startled me right out of my seat! Between Morgan's convincing fall and the expertly coordinated sound, the moment was shockingly believable.

One of the things I especially enjoyed about attending the first preview was the audience's willingness to become part of the experience. Sometimes the laughter came from the dark humor woven into the script, and other times it was that nervous laughter that escapes when something is so uncomfortable you don't know how else to react. The collective gasps and spontaneous comments made the evening feel almost interactive, and the actors never missed a beat. And, I do have a confession. When Annie decided to hobble poor Paul, I couldn't watch! I knew what was coming, and I hid. However, I had no problem yelling at Paul when Annie brought him that nasty water with his pills. "Don't drink that!" Did he listen? Of course not! Down it went, and there I sat disgusted! I loved every nerve-racking minute of this play!

Another star of the show? The rotating stage! This is the second ACT production in a row where I have been absolutely blown away by their scenic creativity, and I am becoming quite the fan of their technical team! Designed by Eells and Jon Hatton, the set features what appears to be a motorized circular platform divided into three sections representing different areas of Annie's house. With a clever rotation, we are whisked from one room to another without losing the momentum of the story. I was almost as entertained by the set as I was by the actors! Beyond its impressive engineering, the revolving structure reinforces Paul's confinement. No matter which way the house turns, poor Paul is still trapped inside Annie's nightmare. So cool!

Lighting designer Mike Stacks and sound designer Scott Minor heighten the suspense, while Lauren Nicholas' props and Shelly Hall's costumes establish the production's unsettling realism. Fight choreographer Brett Ihler also deserves recognition for the convincing physical danger. The technical elements work beautifully with the performers to make every frightening moment believable.

 For theatre lovers interested in what happens behind the scenes, ACT is also offering a special $10 post-show backstage tour, providing a closer look at the revolving set and special effects. I didn't take the peek, because I like to hold on to the magic--at least until after I write the review.

MISERY has everything I want in a psychological thriller: an unforgettable villain, a desperate hero, and enough twists to keep my nerves working overtime. Sharing it with an audience that was just as enthusiastic as I was made the experience even better. I had the best time!

MISERY runs through November 1 at Argenta Contemporary Theatre, 405 Main Street in North Little Rock. Due to mature themes, strong language, and violence, the production is best suited for adult audiences. For tickets and information, visit www.argentacontemporarytheatre.org.

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