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Ted Tiller Based on Bram Stoker’S Nineteenth Century Novel, “Dracula”

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Ted Tiller Based on Bram Stoker’S Nineteenth Century Novel, “Dracula” Dept. of Theatre College of Humanities & Fine Arts University of Northern Iowa www.uni.edu/theatre Count Draculaby Ted Tiller based on Bram Stoker’s Nineteenth Century novel, “Dracula” Directed by Richard Glockner Scenic Designer Lighting Designer Leonard Curtis Ron Koinzan Costume Designer Hair & Makeup Designer Carol Colburn Amy S. RohrBerg Properties Designer Stage Manager Mark A. Parrott Laura A. Neill April 15-18 & 23-25, 2010 Strayer-Wood Theatre There will be two intermissions during the performance. Produced by special arrangement with Samuel French, Inc. Theatre UNI's casting and season selection policy supports the ideals of equal opportunity and affirmative action. Theatre UNI and the Department of Theatre support theatre in education and the National Theatre Standards. From the Artistic Director Welcome to Count Dracula. I don’t know if any of you were a fan of the Canadian comedy program, SCTV, but I was. I remember Count Floyd vividly as he told his audience in TV-land to hold onto our seats for we were about to witness “some scary monsters” during the Monster Chiller Horror Theatre. The late John Candy and Joe Flaherty as Count Floyd would make their own 3D by moving into and out of the camera promising us that we would truly be scared. Tonight you will see some scary monsters, I’m sure, and we hope you are chilled and thrilled by our final production of the season. Now it is time to look towards next season and the four shows that will provide you with comedy, drama, and music. In October we will open the Strayer-Wood Theatre’s 2010-2011 season with Oliver Goldsmith’s Georgian comedy, She Stoops to Conquer, directed by Gwendolyn Schwinke. The subtitle for this comedy is “The Mistakes of a Night” and that’s exactly what happens as two noblemen are led to mistake a country noble’s house for an inn and his daughter for a barmaid. Mistaken identities and mischief proliferate, but as in all comedies, boy gets girl and girl gets boy, and everyone is forgiven in the end. November will see the Theatre Department in conjunction with the GBPAC hosting the Iowa Thespian Festival, leading to our December production, Mother Hicks by award-winning Theatre for Youth writer, Suzan Zeder, and directed by Gretta Berghammer. Mother Hicks has been described as “an emotionally compelling play set during the great depression, which eloquently depicts three outsiders who find their way to themselves and each other via poetry and sign language” (from a Study Guide by Nola D. Smith for the Pardoe Theatre Production.) Girl, an orphan, and Tuc, the deaf storyteller of the piece, try to find their way in the world and their place in it. The spring semester begins with a production in February of On the Verge by Eric Overmeyer and directed by Cynthia Goatley. Three intrepid female explorers from the 19th century set out on a journey to Terra Incognita which leads through time as they explore their way into the 1950s and beyond. They begin to “osmose” the future and find that it is an exhilarating place to be. And last in our season, in April, is the musical, How to Succeed in Business without Really Trying, music and lyrics by Frank Loesser and book by Abe Burrows, Jack Weinstock, and Willie Gilbert. Directed by Jay Edelnant, How to Succeed satirically examines how a young window cleaner with a mind for advancement moves up the corporate ladder “without really trying,” eventually becoming head of the corporation. We feel it is a perfect time to bring this 1961 musical to the Strayer-Wood Theatre stage. Please join us next year as we provide a rich season of productions for thought and laughter and often both. With that, I am signing off as Artistic Director as Eric Lange returns to his regular post next year. See you at the theatre! - Cynthia Goatley Production Team continued From the Dean Costume Construction Crew (continued) ............................. Susanne Hauser, Stefanie Haxmeier Adam Hobeiche, Lauren Holsing, Nate Howard Brett Jones, Emily Kautz, Amber Kearney, Edis Kescrovic, Briar Kleeman, Jenna Kramer Nothing can take the place of live theater. The opportunity to Codye Lazear, Emily Merfeld, Meghan McKinney, Megan Catherine Moore, Jeneka watch actors and the other creative artists involved make decisions Mortensen, Ashley Myers, Bailey Otto, Jens Petersen, Rachel Rathe, Tori Rezek in real time about what and how they communicate to an audience Lindsey Sample, Megan Schafer, Rachel Schroeder, Justin Simmons, Abby Sieren cannot be matched on film, videotape, or digital recording. I love Terrell Sinkfield, Astrella (Shaggy) Tanguma, Ethan Taylor, Abby Thiessen, Taylor Thoreson Megan Trepp, Suzanne Vartabedian, Alex Westrum theater! Sound Coordinator/Board Operator ............................................................................... Kris Rutz Dr. Goatley offered me a few lines in which to introduce myself. Wardrobe Crew Head .......................................................................................... Adam Hobeiche As the new dean of the College of Humanities and Fine Arts, I’m Wardrobe Crew .......................................................Josh Colpitts, Jenna Graupmann, Evan Hoyt delighted to be associated with UNI Theatre. My own academic Brett Jones, Sam Pelelo-Ray, Clay Swanson, Lizzie White background is in mathematics, but I am a member of Stage, Inc.; Hair & Makeup Crew Head ........................................Kelli Craig, Molly Franta, Abby Thiessen Hair & Makeup Crew .........................Emily Draffen, Neena Eatmon-McClendon, Josh Hilliard in fact, I have served as a board member and even president of that Amber Patterson, Mackenzie Roth organization. The UNI community and the entire Cedar Valley are Marketing Director ..............................................................................................Jascenna Haislet indeed fortunate to be able to experience firsthand the results of the Assistants to the Marketing Director ............................................ Ryan Decker, Sara VanHulzen collaboration among the talented faculty, staff and students of the Box Office Managers .....................................................................Jane Fitzpatrick, Kayla Nalan Theatre Department. Box Office Staff ............................................................... Ellie Heins, Anthony James Lempares Andrea Michelle Morris, Sara VanHulzen Thank you for your attendance at this performance of Count House Manager ....................................... Julie Baldwin, Ryan Decker, Abby Gobeli, Tori Rezik Dracula, and I look forward to seeing you at many more productions Acting Head/Dept of Theatre/Strayer-Wood Theatre Artistic Director .............. Cynthia Goatley of UNI Theatre in the future. Dean, College of Humanities & Fine Arts ...................................................................Joel Haack - Joel Haack Department of Theatre Eric Lange, Head Gretta Berghammer, Carol Colburn, Leonard Curtis, Jay Edelnant Richard Glockner, Cynthia Goatley, Linda Grimm, Jascenna Haislet Ron Koinzan, Tange Kole, Mark A. Parrott, Amy S. RohrBerg Gwendolyn Schwinke, Steve Taft Office Assistants: Ann Meade The mission of the Department of Theatre is to create theatre which excites, and which illuminates the human condition in ways that are relevant to students, audiences, community members, teachers and guest artists. To this end, the department offers coursework and productions that are diverse, creative and participatory, serving students who want to prepare for a life in the theatre and also students who want to prepare a place for theatre in their lives. We create theatre and, in this process, educate. From the Director On Dracula and “Draculas” continued Thirty-three years ago, almost to the day, I opened in Ted Tiller’s But from whence came these profoundly complicated children of the night, these Count Dracula, playing the title role.. I was an MFA student at Temple gloriously ridiculous monsters who thrill and amuse, threaten and entice? Most imagine they were the invention of the late-Victorian writer Bram Stoker, whose 1897 University in Philadelphia. novel Dracula popularized a particular image of the vampire as an interloper among The theatre we played in was the studio where The Mike Douglas the pure white race of the English. Dracula’s difference—that is, his otherness—stands Show was filmed from 1965-1972. Located adjacent to Philadelphia’s as sharply in contrast to the imagined purity of the British as do his hard white fangs famous Rittenhouse Square, it sat one hundred forty people. We opened against his soft, moist, red lips. Red and white—blood and skin, blood and milk, blood to a full house and sold out quickly for the entire run of the show. and semen, depending upon which interpreter one reads: these are the colors of the vampire, threatening to stain the pristine purity of Britishness, to dirty the clean living The show was immensely popular with audiences. So much so that that Britons wanted to believe was theirs alone. producers from the local Playhouse in the Park, a star-driven summer Stoker’s vampire crystallized a heady mix of cultural threats, of “others” whose very theatre, optioned the production for the summer following our run. My embodiments of difference threatened to sink their teeth into what Britons fantasized inflated ego was soon crushed when they hired Farley Granger to star was their own uniform purity: the New Woman, that early feminist whose radical as Dracula and not me! ideas of freedom are scoffed at by Stoker’s
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