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When I design a set I usually start with a lot of research and then it really
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starts with a lot of sketching and a lot of conversations with the director and
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my collaborators to really figure out what the story is we're trying to tell with the scenery, which is not always the same story that we're trying to tell
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with the story. Kind of like what we're trying to do in Misery. Will Freer as the
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director had a very strong concept early on where he did not want to make a kind
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of poetic, abstract representation of this home. He wanted to make everything that you see inside
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of this theatrical box and this theatrical setting as real as possible
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Mainly, 97.5% of the play takes place in this one room, but Paul, of course, gets out
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And so when Paul gets out, we have a whole bunch of things waiting in store for him
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and what he sees and experiences outside of the room that he's trapped in is, I think
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going to be a surprise for the audience. Misery is able to capture this amazing suspense
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unlike anything I've ever seen. And when you get to witness that, not with the kind
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of separating factor of a screen, but when you get to witness it in a room, there's nothing like it
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It is like the epitome of great theater. You really don't know what's going to happen
