"Rest assured there isn’t a weak or underdeveloped character or a wasted moment." - Frank Thompson
“Words were spoken, hearts were broken, but now I hope you see it was the whiskey talking, not me.” - Jerry Lee Lewis
Though The Killer’s famous ditty about the perils of drinking was considered humorous in the 1950s (and still has a great tune), it’s no longer acceptable to laugh at alcohol/drug induced misbehavior. That’s why I was so pleasantly surprised at how much I laughed during Misery Is Optional, running tonight through Sunday at Trustus Theatre. Developed through the Midlands Tech-based Harbison Theatre Incubator Project, Misery Is Optional is a collection of vignettes and short monologues, taken verbatim from interviews with those suffering from chemical addiction. Their stories are often tragic, but Director Dewey Scott-Wiley wisely includes moments of hilarity throughout the show, without ever abandoning the seriousness of the disease or its impact on its victims and those in their personal orbits. Scott-Wiley’s staging is simple and minimalist, placing the focus squarely on the people and their experiences. While often colorful and eccentric, the many characters embodied by the cast of four are never lampooned or made into cartoonish figures. Scott-Wiley adds a glaze-thin layer of heightened reality at just the right moments, and at other times deals with stark reality head-on. The result is an immersive, emotionally engaging, and accurate-yet-respectful look at the world from the addict’s perspective. Character changes are done seamlessly onstage, with a simple change of hats or donning a pair of glasses, etc.
The cast is uniformly strong, and features Scott-Wiley, alongside Christine Hellman, Arischa Conner Frierson, and Jason Stokes. This ensemble of four well-known Columbia actors flows seamlessly from one character to the next. Many are recurring, while others we glimpse only once. From well-heeled society alcoholics to homeless heroin addicts, the entire socio-economic spectrum is explored, subtly driving home the point that addiction cuts across all cultural lines. There is no linear plot, per se, but there is an unmistakable thematic arc, taking us from the darker, hopeless stories through the process of intervention and treatment, and ending on a bright note of hope.
Each of the four performers presents a chameleon-like ability to seamlessly navigate the waters of dialect, social class, education level, and a spectrum of emotions, which will likely leave each theatre-goer with his or her favorite characters, so I won’t prejudice anyone by sharing mine. Rest assured there isn’t a weak or underdeveloped character or a wasted moment. Scott-Wiley utilizes a circular-pattern style of blocking throughout the show, which creates a perpetually kinetic atmosphere. Whether physically or emotionally, there is always motion, and the overall pacing and fluidity of the show are clearly well-rehearsed and perfected.
Misery Is Optional is a non-season special event, being hosted by Trustus, so there are only three more chances to catch it. I would urge anyone who enjoys good theatre to experience this production. This isn’t a “Hey kids, don’t do drugs” Afterschool Special, nor does it speak only to those in recovery. It has a message, but it’s also a fascinating, funny, and enjoyable show.