The frost was on the pumpkin; the wind was wild; and wispy streaks of gray cloud whipped past a luminous waxing Gibbous in the eastern sky. “What a perfect night,” I thought as I walked into the John and Angeline Oremus Theater on November 1 st to see “Dracula!” On a multi talented and gloomy set designed by Michael Nedza, director Craig Rosen and his cast and crew serve up a sexy and savvy production that is just camp enough not to scare the daylights out of any individual. The play, although not traditionally written or acted in the same fashion as its original version, draws the audience into the world of “Dracula.” Corbett Lunsford, the music and sound designer, has provided a musical background that adds to the sense of the supernatural mixed with spectacular transitional sounds. The music and sound also made me aware when one scene was coming to an end and when another scene was beginning.
The music, in my opinion, was what kept me focused when the play was getting a little bit boring. The lighting effects designed by Michael, were remarkable. It helped make Lucy’s portrayal as the lost vixen more believable. The set, designed by Michael Nedza, had a London home, a cell in a lunatic asylum, one tomb, and in the background a sea like shore that were all effectively brought to life in a space barely larger than most living rooms. Often the plays I have watched and stages I have helped create, are staged simultaneously or in rapid overlap.
The Essay on Michael Cotton Music Faur Piece
Gabriel Faur and Franz Schubert, although very culturally and musically different, share the same adoration and appreciation for the human voice. Albeit the two composers were skilled musicians, especially talented chamber performers, neither had much experience in opera music. Even so, both Faur and Schubert managed to compose amazingly difficult voice music. Because there are so few notes, the ...
The Director Craig Rosen and Assistant Director Michael Poli no have succeeded in bringing a cinematic effect to the Oremus stage. This two-act dramatic retelling of Bram Stoker’s novel by Dr. Craig Rosen is a “Dracula” without bats, and Frank Vita coo is a Dracula without hair. He does wear a white cape though, that makes him look like a 20 th century “Dracula” and an impressive amount of make up that outlines his features as Dracula. He is a tall, average weight size but not classically handsome like some interpretations of the original Dracula.
However, he is successfully spooky and, in my opinion, gives a splendid and remarkable performance. R enfield, played by William Krolikowske, is by far the strongest male performance on the stage. He gives a different but solid performance from all the other cast members. I think, the director uses Re infield to tie the plot lines together until the threesome, Seward, Harker and Van Helsing catch on and finally arrive at Dracula’s tomb. The ladies, Lucy played by Allison Woden, and Mina played by Dana Fri berg, were lovely in their costumes.
Lucy is wonderful in her final scene when she comes to reenter her tomb after a night of feasting on children. The triumphant Mina steadfastly takes control of her own fate after deciding that the men aren’t going to be much help. Overall, Craig Rosen and his crew, offer this classic story of the struggle between good and evil. Although not the original version of “Dracula”, the overall production was, good and an entertaining thrill for a crisp autumn evening. The stage blood was kept to a minimum and there were several good performances in the play that I really enjoyed. I personally, haven’t seen any play better than this production, the cast, in my opinion, produced a remarkable and outright fabulous performance..
