Leonard, William Torbert (1981). Theatre: Stage to Screen to Television: Volume I: A-L. Metuchen, New Jersey: Scarecrow Press. ISBN 0-8108-1374-2. OCLC 938249384. Dracula is directly said to be Vlad the Impaler - John Harker mentions, that when he was in Transylvania he heard of Castle Dracula and of a famous Voivode Dracula who lived in the castle centuries ago and fought the Turks. Van Helsing later identifies Dracula as this very Voivode. Dracula also himself says that he is 500 years old, placing his origin in the 15th century. [40] Dracula has been a name that has instilled fear and fascination in the imaginations of readers and viewers since its original publication by Bram Stoker in 1897. There have been many adaptations and remakes of the novel since then, including F.W. Murnau’s silent film Nosferatu, eine Symphonie des Graunens, the 1931 Universal Studios version of Dracula starring Bela Lugosi, and Bram Stoker’s Dracula starring Gary Oldman and directed by Francis Ford Coppola in 1992. Steinmeyer, Jim (2013). Who Was Dracula?: Bram Stoker's Trail of Blood. New York: Penguin. p.284. ISBN 978-1-101-60277-5. OCLC 858947406. The play was first staged in 1973, and for years, Gorey says, each time a theater company decided to put it on, he was called up to consult. He dutifully turned up each time, scowling glumly and wondering why. When it finally hit Broadway, he saw two-thirds of a rehearsal and left “jaundiced.” The final product left an even more sour taste. It was, he says, “absurd,” but very lucrative. As for the Tony, he says ironically, the award turned out to be “the cross I had to bear,” an embarrassing accolade for costumes he deemed unworthy of the honor.

Skal, David J. (2004). Hollywood Gothic: The Tangled Web of Dracula from Novel to Stage to Screen (Reviseded.). New York: Farrar, Straus and Giroux. ISBN 978-0-571-21158-6. OCLC 966656784. To stage the production, Deane was required to submit the completed script to the Lord Chamberlain for a license under the Theatres Act of 1843. The play was censored to limit violence – for example, the count's death could not be shown to the audience – but was approved on 15 May 1924. [8] Gorey remained irredeemably American. Despite the apparently English setting of many of his books, his only trip to Europe was to the Scottish islands, the Shetlands, the Hebrides, and the Orkneys. He described not seeing the Loch Ness monster as the great tragedy of his life. But his international reputation steadily grew, as books were translated. In 1972, Amphigorey, an anthology of fifteen works, was published, followed, over the next few years, by Amphigorey Too, Amphigorey Also, and Amphigorey Again. Gorey’s long interest in book design led to his experiments with unconventional formats, including miniatures, pop-up books, postcards, and collections of moveable parts. Oldham, Lisa L. (22 November 1977). "Jeremy Brett - Later Stages". The British Empire . Retrieved 13 May 2020.

University Libraries

Waller, Gregory (2010) [1986]. The Living and the Undead: Slaying Vampires, Exterminating Zombies. Urbana, Illinois: University of Illinois Press. ISBN 978-0-252-07772-2. OCLC 952246731. In the revised story, Abraham Van Helsing investigates the mysterious illness of a young woman, Lucy Seward, with the help of her father and fiancé. He discovers she is the victim of Count Dracula, a powerful vampire who is feeding on her blood. The men follow one of Dracula's servants to the vampire's hiding place, where they kill him with a stake to the heart. Weber, Johannes (2015). "Like Some Damned Juggernaut": The Proto-filmic Monstrosity of Late Victorian Literary Figures. Bamberg, Germany: University of Bamberg Press. ISBN 978-3-86309-348-8. Rhodes, Gary Don (2006) [1997]. Lugosi: His Life in Films, on Stage, and in the Hearts of Horror Lovers. Jefferson, North Carolina: McFarland. ISBN 0-7864-2765-5. OCLC 809669876. Deane's Dracula premiered on 15 May 1924 at the Grand Theatre in Derby, England. [9] Deane had originally intended to play the title role himself but opted for the role of Van Helsing. This production toured England for three years before settling in London, where it opened at the Little Theatre in the Adelphi on 14 February 1927. [10] It later transferred to the Duke of York's Theatre and then the Prince of Wales Theatre to accommodate larger audiences. [11] Broadway production [ edit ] The first Broadway production opened at the Fulton Theatre in 1927.

In 1927 the play was brought to Broadway by producer Horace Liveright, who hired John L. Balderston to revise the script for American audiences. In addition to radically compressing the plot, Balderston reduced the number of significant characters. Lucy Westenra and Mina Murray were combined into a single character, making John Seward Lucy's father and disposing of Quincey Morris and Arthur Holmwood. In Deane's original version, Quincey was changed to a woman to provide work in the play for more actresses. Stuart, Roxana (1994). Stage Blood: Vampires of the 19th-century Stage. Bowling Green, Ohio: Bowling Green State University Popular Press. ISBN 0-87972-660-1. OCLC 929831619.During the original Broadway run, members of the Dracula cast presented an adaptation of the play on 30 March 1928, on the short-lived NBC Radio series Stardom of Broadway. Lugosi, Van Sloan, Peterson, Neill, and Jukes performed on the 30-minute program. [44] Films [ edit ] Bela Lugosi in the 1931 film adaptation The revised version of the play went on a national tour of the United States and replaced the original version in London. It influenced many subsequent adaptations, including the popular 1931 film adaptation starring Lugosi. A 1977 Broadway revival featured art designs by Edward Gorey and starred Frank Langella. It won the Tony Award for Best Revival and led to another movie version, also starring Langella. a b DVD Documentary The Road to Dracula (1999) and audio commentary by David J. Skal, Dracula: The Legacy Collection (2004), Universal Home Entertainment catalog # 24455 Dracula is a stage play written by the Irish actor and playwright Hamilton Deane in 1924, then revised by the American writer John L. Balderston in 1927. It was the first authorized adaptation of Bram Stoker's 1897 novel Dracula. After touring in England, the original version of the play appeared at London's Little Theatre in July 1927, where it was seen by the American producer Horace Liveright. Liveright asked Balderston to revise the play for a Broadway production that opened at the Fulton Theatre in October 1927. This production starred Bela Lugosi in his first major English-speaking role. If you want to see them in person, you can swing on by to the Special Collections on the third floor of the Main Library. Otherwise, on October 28 th, 11:00am – 3:00pm, we will be hosting a Halloween Pop-Up Exhibit on the first floor of the Main Library, where the complete construction of Dracula: A Toy Theatre will be the star of the exhibit, along with a showcase of some of our spookiest comics and fanzines.

The Broadway producers established a road company that toured the U.S. in 1978 and 1979, with Jean LeClerc as Dracula and George Martin as Van Helsing. [20] Jeremy Brett starred as Dracula in Denver, Los Angeles, San Diego, San Francisco, and Chicago. [21] The U.S. revival also sparked a new production in London, where it opened on 13 September 1978 at the Shaftsbury Theatre. Terence Stamp took the title role, with Derek Godfrey as Van Helsing and Rosalind Ayres as Lucy. [22] Plot of the play [ edit ] Plot of original version by H. Deane [ edit ] Kabatchnik, Amnon (2009). Blood on the Stage, 1925–1950: Milestone Plays of Crime, Mystery, and Detection. Lanham, Maryland: Scarecrow Press. ISBN 978-0-8108-6963-9. Here at the University of Iowa Libraries Special Collections, we not only have a copy of Scribner’s publication of Dracula: A Toy Theatre, but two copies of the Pomegranate publication as well. A voracious reader and collector of everything from obscure Victorian novels to translations of The Tale of Genji, from Symbolist poetry to books on napkin folding to the works of Carl Jung and George Gurjieff, and, apparently, everything in between, Gorey was also a connoisseur of popular television programs and obscure films. He had encyclopedic knowledge of Japanese cinema and the work of pioneers such as Louis Feuillade, the inventor of the serial thriller, whose silent films, such as the Fantomas series, clearly inform Gorey’s interiors and street scenes. He seems to have so thoroughly internalized an astonishingly wide range of sources that we can find allusions in his books to the works of Max Ernst, Paul Klee, police photographers, and 19th-century illustrators, along with flavors of Buster Keaton’s films, Lewis Carroll’s and Ivy Compton-Burnett’s books, Kabuki theater, and much, much more, including parodies of Agatha Christie’s mysteries and the pseudonymous French pornographer Pauline Réage’s The Story of O. Gorey claimed that he knew “a little bit about a lot of things,” a disclaimer that belied his extraordinarily well-furnished mind and his depth of knowledge of recherché subjects.

The original cast of the revival included Frank Langella as Count Dracula (later replaced by Raúl Juliá), Alan Coates as Jonathan Harker, Jerome Dempsey as Abraham Van Helsing, Dillon Evans as Dr. Seward, Baxter Harris as Butterworth, Richard Kavanaugh as R. M. Renfield, Gretchen Oehler as Miss Wells, and Ann Sachs as Lucy Seward. [19] The show won two Tony Awards for Most Innovative Production of a Revival and Best Costume Design (Edward Gorey).

Deane's 1924 version of the play had several significant productions with different casts, including the debut production at the Grand Theatre in Derby, the initial London production at the Little Theatre, and a continuation in London at the Duke of York's Theatre, with the following casts: [10] [29] Casts for productions of the original 1924 versionBorn in Chicago, Gorey came from a colourful family; his parents, Helen Dunham Garvey and Edward Lee Gorey, divorced in 1936 when he was 11, then remarried in 1952 when he was 27. One of his step-mothers was Corinna Mura, a cabaret singer who had a brief role in the classic film Casablanca. His father was briefly a journalist. Gorey's maternal great-grandmother, Helen St. John Garvey, was a popular 19th century greeting card writer/artist, from whom he claimed to have inherited his talents. He attended a variety of local grade schools and then the Francis W. Parker School. He spent 1944–1946 in the Army at Dugway Proving Ground in Utah, and then attended Harvard University from 1946 to 1950, where he studied French and roomed with future poet Frank O'Hara. It should be noted,” Goreyana writes, “that all the sets for Dracula were hand painted by talented scene shop artists. Every cross hatched line on the walls, furniture, and floor had to be recreated to size by hand.” This is indeed impressive, and Gorey is probably right: the sets, which he also seemed to loathe, were probably more deserving of the Tony than the costumes. “The overall aesthetic,” says Rutigliano, “matches the period of the original Broadway run, the 1920s.” (The production won another Tony for Most Innovative Revival.) Frank Langella, star of the 1977 Broadway revival, reprised the role of Count Dracula in the 1979 film version directed by John Badham.