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Dracula

The quintessential vampire story, retold for the stage with a twist

Mina Harker tries to piece together what happened to her husband Jonathan on his business trip to Transylvania, where he'd stayed with a certain eccentric Count.

 
 

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Share your thoughts on the production and see what other people have to say.

Learn more in our

"Dig Deeper" section!

What surprised you about the play?

What was a moment in the production that stood out to you, and why?

Who's your favourite Dracula character, and why?

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Limited seating at live performances of this production is available as follows:


June 30, 7:30 pm
July 1, 12:30 pm and 7:30 pm
July 2, 7:30 pm
July 3, 12:30 pm and 7:30 pm

We are currently planning to have a limited, live, socially distanced audience at each of the performances. Please be advised that all performances are subject to possible cancellation in the event of AHS gathering restriction changes.

There will be no digital video recording of this production.

Tickets on sale June 23, 2021
PURCHASE TICKETS HERE
All Seats: $10.00

Please contact the Timms Box Office for more information via email (uastudio@ualberta.ca) or phone (780-492-2495).

 
 

Director's Notes

Everyone carries a shadow, and the less it is embodied in the individual’s conscious life, the blacker and denser it is. At all counts, it forms an unconscious snag, thwarting our most well-meant intentions. -C.G. Jung.

Yet there is a mystery here and it is not one that I understand. Without this sting of otherness, of-even-the vicious, without the terrible energies of the underside of health, sanity, sense, then nothing works or can work. I tell you that goodness-what we in our ordinary daylight selves call goodness: the ordinary, the decent-these are nothing without the hidden powers that pour forth continually from their shadow sides.  -Doris Lessing

I have always been fascinated by the mythology of the vampire. On a metaphoric level, the conceit that some beings live by “feeding” off the life force of others seems a genuine truth. I have encountered this in many plays that never even mention a literal vampire. I am also drawn to the idea of the unknown other that corresponds to the darkness that we harbor within us; the “shadow” as C. G. Jung defines it, which will sneak up on us and attack  when we deny its existence.

I chose this particular adaptation by American playwright Mac Wellman because I was intrigued by his unconventional re-telling of the Dracula story, which merges Victorian repressions, contemporary angst, and archetypal obsessions. Mina and Lucy are central in his version of the classic horror tale (and I have made them even more so) which comments on the Dracula myth even as it plays out before us in all its mystery. The production explores both sexual obsession and sexual liberation as well as themes around love, friendship, science, superstition, and the monster within us all, looking to maintain the delicate balance between horror and wickedly dark humour.

I am a director who approaches a play as a site for creating images that go beyond the literal. This aesthetic results in a highly theatrical style with abundant physicality. Luckily, my cast, the graduating BFA Acting class of 2021, are exceptional movers with great training, inventiveness and dedication.  Working with them has been a joyful experience.

In creating the evocative visual world of this Dracula, I have had amazing support from a brave band of very talented artists;  set designer FengYi Jiang, costume designer Robert Shannon, lighting designer Even Gilchrist and sound designer Michael Caron. I also wish to acknowledge the great contribution made to the production by vocal coach Josh Meredith, who completes his MFA thesis in Voice Pedagogy with his work on this show.

One of the lovely gifts of this show is that we are able to return performing for a live audience. We are beyond thrilled to share our work with you in person.

 

--Kathleen Weiss

Dig Deeper

"A dramaturg is a member of the artistic team of a theatre production who is a specialist in the transformation of a dramatic script into a meaningful living performance."

(5) Michael Mark Chemers, Ghost Light: An Introductory Handbook for Dramaturgy, Southern Illinois University Press, 2010.

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Who Was Count Dracula?

While this claim has been disputed in recent years, Count Dracula is usually said to have been based on Vlad Țepeș, or Vlad the Impaler...

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Bram Stoker's Dracula, TL;DR

First published in 1897, Bram Stoker’s gothic novel Dracula codified many of the tropes that came to be associated with vampires. And hunters. And northern Romania...

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A Natural History of Vampires

Whether or not vampires literally exist, they certainly occupy a prominent place in the folklore and art of several cultures...

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Fictional Blood-Suckers

While tales of vampires are rooted in folklore, most common tropes and depictions of vampires are directly related to prominent representations in art, literature, film and TV, and other media...

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Mac Wellman

Mac Wellman is a New York-based playwright originally from Cleveland, Ohio. A recipient of three Obie awards, his plays are often lauded for their experimental qualities...

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Gothic

The gothic aesthetic that emerged in 18th century European literature serves as a bridge between Medieval art and architecture in the Germanic (Gothic) style and the 20th century goth subculture...

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Cross-Casting

In this production, Dracula and Van Helsing are played by women. Since theatre’s very beginnings, the politics of gender in casting have been a source of fascination and controversy...

 

Featuring...

 

Playbill

THE CAST

Van Helsing — Lauren Brady

Lucy — Elizabeth Chamberlain

Dracula — Julia van Dam

Jonathan — Max Hanic

Mina — Sophie Healey

Seward — Thomas Kassian

Simmons — Dylan Maguire

Vampirette — Michelle Robb

Quincey — Zachary Strom

Vampirette — Hannah Wigglesworth
 

CREATIVE TEAM

Director — Kate Weiss

Set DesignerFengYi Jiang

Costume Designer — Robert Shannon

Costume Assistant — Rory Turner

Lighting Designer — Even Gilchrist

Lighting Assistant Rebecca Cypher

Sound DesignerMichael Caron

Vocal and Accent Coach — Josh Meredith

Movement Coach — Lin Snelling

Stage Manager — Galen Hite

Assistant Stage Manager: Props — Courtney Bettanin

Assistant Stage Manager: Costumes — Charlotte Braid

ADMINISTRATION

Department Chair/Artistic Director — Melanie Dreyer-Lude 

Administrative Chair — Julie Brown

EA/Grad Advisor — Liz Ludwig

Undergrad Advisor — Connie Golden

Theatre Administrator — David Prestley 

Box Office Coordinator — Candice Stollery

Office Coordinator/Admin Assistant — Helen Baggaley

Marketing and Communications — Erik Einsiedel

PRODUCTION TEAM

Production Manager — Gerry van Hezewyk 

Technical Director — Larry Clark 

Assistant Technical Director — Emma Nokes

​Head of Wardrobe — Joanna Johnston

Head of Carpentry — Darrell Cooksey

Stage Carpenter — Emma Nokes

Scenic Carpenter — Barb Hagensen

Head of Paint — Lieke den Bakker

Light and Sound Crew — Stuart Lindsay, Ian McClellan, Amy Dass, Anthony Hunchak, Curtis Gauthier

                                               

Properties Master — Jane Kline

Properties Assistant — Tiffany Martineau

Lighting Supervisor — Jeff Osterlin

Head of Lighting — Mic Herbold

Lighting Operator — Casey Irwin

Sound Supervisor — Matthew Skopyk

Head of Sound — Kenzie Bowes

Sound Operator — Curtis Gaulthier

ADVISORS

Stage Management  —John Raymond

Stage Management  —Izzy Bequest

Design Advisor — Robert Shannon

Paint Advisor — Cindy Zuby

 

Gallery

Check out behind-the-scenes content from some of our previous productions!

Content compiled by Xavia Publius