Brad and Angelina? How about Goldie and Kurt? That’s a hard pass for me. When it comes to powerhouse acting couples, my money’s on Kaylyn and David.
As headliners of The Plaza Theatre’s Misery, Kaylyn Otradovsky and David Otradovsky are nothing short of remarkable. The show – set to run from Oct. 18 through Oct. 27 with shows at 7:30 p.m. Fridays and Saturdays and 2:30 p.m. on Sundays – is written by William Goldman based on Stephen King’s iconic novel. For those unfamiliar with the story, it follows the terrifying experiences of popular novelist Paul Sheldon who ends up at the mercy of a crazed fan, Annie Wilkes.
David plays the part of the novelist while Kaylyn takes on the role of the admirer. David spends the majority of the show confined to a bed or stuck in a wheelchair, yet he manages somehow to express the pain, confusion and terror of a man held prisoner by a deranged lunatic. His cries of pain – the result of a life-threatening car crash – are spine-tingling.
Near the end of the play is a scene made infamous by the Hollywood movie adaptation (starring James Caan and Kathy Bates) involving a block of wood and a sledgehammer. The Otradovskys’ presentation of this iconic moment is simply terrifying, with David’s raucous screams echoing through the theater. It was a difficult scene to watch.
It’s important to note from the start that Misery is not a children’s production. Harsh language, depictions of mental instability, and moments of brutal violence all make this appropriate for mature audiences only.
Kaylyn’s portrayal of Annie Wilkes is hard to describe adequately with words. Able to switch instantly from compassion to anger to outright madness, she is the epitome of an isolated, mentally ill woman who has based her entire existence off a fictional character. Her infatuation with David is entirely believable, while her unhinged moments (most notably the block and sledgehammer scene as well as a manuscript burning scene) are equally convincing. As the production comes to an end, she appears out of the shadows, face covered in blood and maniacal laughing rivaling that of classic horror actor Vincent Price. Sitting in the front row, I experienced a moment of great unease, wondering what was about to happen and how it might affect me being so close to the action. If that doesn’t signify an impeccably presented show, I don’t know what does.
Yet the production is not solely about horror and discomfort. There are humorous instances – quite a few, in fact – that enable the audience to release some of the pent-up anticipation and anxiety resulting from the ongoing tension. David is brilliant in this manner, his facial expressions at Kaylyn’s more instable moments resulting in wild laughter throughout the theater. His sarcastic replies to his captor – which pick up dramatically in the second act – are especially entertaining.
Speaking of entertaining, Plaza veteran Rodrigo Gutierrez’s portrayal of sheriff Buster is quite the sight to behold. Standing as something of a comic relief, his over-the-top performance brought the house down every time he stepped on stage. Sporting a mustache and speaking with a twangy accent, Gutierrez transforms himself into the quintessential country lawman. Possessing an indisputable charisma and expressing a contagious energy, Gutierrez is always a joy to watch in any part he plays. My only complaint is that his part was not more central to the plot.
Director Joanna Hickey and assistant director Sarah Wilkins deserve a ton of credit for bringing so many elements together in such a marvelous way. In Misery, they take the individual ingredients of top-notch acting, expert set design, well-timed lighting, solid costuming and special audio effects and mix them all together, baking them to perfection until they form a delicious final product. Everything from book covers to bed sheets to bedroom curtains are all taken seriously, with no stone left unturned. The result is a smart, solid illusion that enables the audience to engage their imagination and transport themselves fully into the story.
The use of lighting aids this illusion, fading out and coming back throughout the play to create a series of vignettes instead of long, traditional acts. By so doing, the audience feels more like they are reading a book than watching an on-stage production – an effective method in this particular case. The bedroom’s window – comprised of a digital screen – is also employed to great effect, used to show the change of seasons, the advent of a lightning storm, and even some of the words written by David on his typewriter. Lighting designer Kenneth Socha, lighting board operator Makaya Brown and projectionist Sarah Wilkins should be congratulated for these incredible effects.
The overall set design is outstanding, with a small hallway separating a kitchen and a bedroom. As such, scene changes are subtle and unobtrusive, with stage hands sneaking out during nighttime scenes to move props and get prepared for what’s coming next. Each room is painstakingly designed, from a full-sized bed to a gigantic china cabinet to a kitchen table and chairs. Pathways throughout the set pieces are large enough to accommodate David’s wheelchair while remaining compact enough to best utilize the available space. In many ways, the design makes the stage feel twice as big as it actually is.
Burke Wilkins must be singled out for overseeing the set design, while stage manager and prop master Dante Hancock – along with crew members Maci Bolletino and Ryan Martin – should be applauded for their attention to detail. Additionally, Al Folmar needs to be recognized for special effects and makeup, which included intricate bruises on David’s legs and a horrifying mask of blood on Kaylyn’s face at the close of the play.
Production credits include Leeanna Shimek on sound design, Sammuel Robinson as sound board operator, Jami Hughes on box office/house management, Jazlyn Rutherford on concessions management, Russell Kacer on communications and Molly Kresta on photography.
The show is presented by BLS Construction.
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ABOUT BEN SHARP: Ben Sharp is is Marketing and Communications Coordinator for Wharton County Junior College and spends his days writing press releases, photographing a wide variety of college activities and publishing the college’s e-Newsletter. He previously spent 14 years as a reporter at the Wharton Journal-Spectator and also operated a photography business. He holds an English degree from the University of Houston. He lives in Wharton with his wife, Kristen, and their three kids, Madalyn, Andrew and Matthew.
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