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Stephen King’s New Venture on Broadway: A Look at “Stranger Things: The First Shadow”
Stephen King makes his return to Broadway after his controversial debut with the musical adaptation of “Carrie” in 1988. He found greater acclaim with William Goldman’s stage version of “Misery,” which featured Laurie Metcalf earning a Tony for best actress in a play. Now, with the opening of “Stranger Things: The First Shadow” at the Marquis Theatre, King reconnects with the theatrical world, segueing from page to stage.
While watching episodes of Netflix’s “Stranger Things,” King’s influence wasn’t foremost in my mind. However, his presence loomed large as I experienced the live adaptation that recently premiered in New York City, following its debut in London. This new work could perhaps be aptly renamed “The Dreaming.” It centers around the troubled Henry Creel, played by Louis McCartney, whose compelling performance invites the audience into a complex inner world where a portable radio becomes an instrument of chaos and creation. With the ability to manipulate dreams—or to step into them—Henry’s journey includes dark manifestations of power, reminiscent of King’s trademark exploration of horror.
The New York Times highlighted several aspects of “Stranger Things: The First Shadow,” particularly its impressive set design by Miriam Buether and its striking visual effects. However, playwright Kate Trefy, who contributed to the original series, only gains recognition midway through the piece. While she provides a quote regarding her adaptation of the Duffer Brothers’ narrative about a quaint town besieged by the menacing alternate realm known as the Upside Down, readers might wonder about the depth and cohesion of her stage version.
Critiques suggest that Trefy’s prequel, set in the 1950s, lacks the gripping intensity that characterized the Netflix series. Her iteration seems to present a formulaic tale of governmental malfeasance leading to disastrous outcomes—a stark contrast to the original’s intricate storytelling and film noir aesthetic. The stage production appears less like a horror thriller and more akin to a light-hearted, shock-filled comedy, lacking narrative depth. A memorable moment occurs when Henry confronts a nightmare tied to his mother’s past, only to become ensnared by a surreal visual of insect legs—an instance that, while visually striking, raises questions about coherence and emotional impact.
Moreover, the visual execution in the show’s early moments has drawn attention, especially a scene where scientists improbably seek to render a U.S. battleship invisible through dimension travel. Directed by Stephen Daldry, the loud, grand visuals can feel overwhelming, yet may not evoke the genuine fear that classic ghost stories, such as adaptations of “The Flying Dutchman,” manage to achieve. The efficacy of special effects hinges ideally on their integration within a robust narrative framework.
The balancing act of humor within a horror framework is a classic trope, but Trefy’s attempts at comic relief often manifest as distracting interludes. The frequent scenes depicting a high school troupe rehearsing a play titled “The Dark of the Moon” come across as overly exaggerated, embodying a clumsiness that contrasts starkly with the tone of the main story.
In this production, nostalgia plays a significant role. Daldry integrates popular 1950s music throughout the performance, reminiscent of other musical hits, but sometimes to the detriment of originality. The borrowed sense of nostalgia can overshadow the unique aspects of the story being told.
Amidst the mixed execution, McCartney stands out with a performance that oscillates between eerie and eccentric, his timing providing some of the production’s genuinely humorous moments. However, his character’s trajectory in the second act leads him into a more limited scope, where the portrayal of electroshock therapy strips away the earlier complexity, leaving a less engaging stage presence.
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