Dept. Of Theatre Uni.edu/theatre Count Dracula

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Dept. of TheatreCollege of Humanities & Fine ArtsUniversity of Northern Iowawww.uni.edu/theatreCount DraculabyTed Tillerbased on Bram Stoker’sNineteenth Century novel, “Dracula”Directed byRichard GlocknerScenic DesignerLighting DesignerCostume DesignerHair & Makeup DesignerProperties DesignerStage ManagerLeonard CurtisCarol ColburnMark A. ParrottApril 15-18 & 23-25, 2010Ron KoinzanAmy S. RohrBergLaura A. NeillStrayer-Wood TheatreThere 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 opportunityand affirmative action. Theatre UNI and the Department of Theatre support theatre ineducation and the National Theatre Standards.

From the Artistic DirectorWelcome to Count Dracula. I don’t know if any of you were a fan of the Canadiancomedy program, SCTV, but I was. I remember Count Floyd vividly as he told hisaudience in TV-land to hold onto our seats for we were about to witness “some scarymonsters” during the Monster Chiller Horror Theatre. The late John Candy and JoeFlaherty as Count Floyd would make their own 3D by moving into and out of thecamera promising us that we would truly be scared. Tonight you will see some scarymonsters, I’m sure, and we hope you are chilled and thrilled by our final productionof the season.Now it is time to look towards next season and the four shows that will provideyou with comedy, drama, and music. In October we will open the Strayer-WoodTheatre’s 2010-2011 season with Oliver Goldsmith’s Georgian comedy, She Stoopsto Conquer, directed by Gwendolyn Schwinke. The subtitle for this comedy is “TheMistakes of a Night” and that’s exactly what happens as two noblemen are led tomistake a country noble’s house for an inn and his daughter for a barmaid. Mistakenidentities and mischief proliferate, but as in all comedies, boy gets girl and girl getsboy, and everyone is forgiven in the end. November will see the Theatre Departmentin conjunction with the GBPAC hosting the Iowa Thespian Festival, leading to ourDecember production, Mother Hicks by award-winning Theatre for Youth writer,Suzan Zeder, and directed by Gretta Berghammer. Mother Hicks has been describedas “an emotionally compelling play set during the great depression, which eloquentlydepicts three outsiders who find their way to themselves and each other via poetryand sign language” (from a Study Guide by Nola D. Smith for the Pardoe TheatreProduction.) Girl, an orphan, and Tuc, the deaf storyteller of the piece, try to find theirway in the world and their place in it.The spring semester begins with a production in February of On the Verge by EricOvermeyer and directed by Cynthia Goatley. Three intrepid female explorers fromthe 19th century set out on a journey to Terra Incognita which leads through time asthey explore their way into the 1950s and beyond. They begin to “osmose” the futureand find that it is an exhilarating place to be. And last in our season, in April, is themusical, How to Succeed in Business without Really Trying, music and lyrics by FrankLoesser and book by Abe Burrows, Jack Weinstock, and Willie Gilbert. Directedby Jay Edelnant, How to Succeed satirically examines how a young window cleanerwith 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 bringthis 1961 musical to the Strayer-Wood Theatre stage. Please join us next year as weprovide a rich season of productions for thought and laughter and often both. Withthat, I am signing off as Artistic Director as Eric Lange returns to his regular post nextyear. See you at the theatre!- Cynthia Goatley

Production Team continuedCostume Construction Crew (continued). Susanne Hauser, Stefanie HaxmeierAdam Hobeiche, Lauren Holsing, Nate HowardBrett Jones, Emily Kautz, Amber Kearney, Edis Kescrovic, Briar Kleeman, Jenna KramerCodye Lazear, Emily Merfeld, Meghan McKinney, Megan Catherine Moore, JenekaMortensen, Ashley Myers, Bailey Otto, Jens Petersen, Rachel Rathe, Tori RezekLindsey Sample, Megan Schafer, Rachel Schroeder, Justin Simmons, Abby SierenTerrell Sinkfield, Astrella (Shaggy) Tanguma, Ethan Taylor, Abby Thiessen, Taylor ThoresonMegan Trepp, Suzanne Vartabedian, Alex WestrumSound Coordinator/Board Operator. Kris RutzWardrobe Crew Head. Adam HobeicheWardrobe Crew.Josh Colpitts, Jenna Graupmann, Evan HoytBrett Jones, Sam Pelelo-Ray, Clay Swanson, Lizzie WhiteHair & Makeup Crew Head.Kelli Craig, Molly Franta, Abby ThiessenHair & Makeup Crew. Emily Draffen, Neena Eatmon-McClendon, Josh HilliardAmber Patterson, Mackenzie RothMarketing Director. Jascenna HaisletAssistants to the Marketing Director. Ryan Decker, Sara VanHulzenBox Office Managers. Jane Fitzpatrick, Kayla NalanBox Office Staff. Ellie Heins, Anthony James LemparesAndrea Michelle Morris, Sara VanHulzenHouse Manager. Julie Baldwin, Ryan Decker, Abby Gobeli, Tori RezikActing Head/Dept of Theatre/Strayer-Wood Theatre Artistic Director. Cynthia GoatleyDean, College of Humanities & Fine Arts.Joel HaackFrom the DeanNothing can take the place of live theater. The opportunity towatch actors and the other creative artists involved make decisionsin real time about what and how they communicate to an audiencecannot be matched on film, videotape, or digital recording. I lovetheater!Dr. Goatley offered me a few lines in which to introduce myself.As the new dean of the College of Humanities and Fine Arts, I’mdelighted to be associated with UNI Theatre. My own academicbackground is in mathematics, but I am a member of Stage, Inc.;in fact, I have served as a board member and even president of thatorganization. The UNI community and the entire Cedar Valley areindeed fortunate to be able to experience firsthand the results of thecollaboration among the talented faculty, staff and students of theTheatre Department.Thank you for your attendance at this performance of CountDracula, and I look forward to seeing you at many more productionsof UNI Theatre in the future.- Joel HaackDepartment of TheatreEric Lange, HeadGretta Berghammer, Carol Colburn, Leonard Curtis, Jay EdelnantRichard Glockner, Cynthia Goatley, Linda Grimm, Jascenna HaisletRon Koinzan, Tange Kole, Mark A. Parrott, Amy S. RohrBergGwendolyn Schwinke, Steve TaftOffice Assistants: Ann MeadeThe mission of the Department of Theatre is to create theatre which excites, andwhich illuminates the human condition in ways that are relevant to students,audiences, community members, teachers and guest artists. To this end, thedepartment offers coursework and productions that are diverse, creative andparticipatory, serving students who want to prepare for a life in the theatre andalso students who want to prepare a place for theatre in their lives. We createtheatre and, in this process, educate.

From the DirectorOn Dracula and “Draculas” continuedThirty-three years ago, almost to the day, I opened in Ted Tiller’sCount Dracula, playing the title role. I was an MFA student at TempleUniversity in Philadelphia.The theatre we played in was the studio where The Mike DouglasShow was filmed from 1965-1972. Located adjacent to Philadelphia’sfamous Rittenhouse Square, it sat one hundred forty people. We openedto a full house and sold out quickly for the entire run of the show.The show was immensely popular with audiences. So much so thatproducers from the local Playhouse in the Park, a star-driven summertheatre, optioned the production for the summer following our run. Myinflated ego was soon crushed when they hired Farley Granger to staras Dracula and not me!So when, this past fall, we decided to postpone our production of TheWind In The Willows and were searching for a replacement that wouldbe fun, popular and, hopefully, attract an audience, I immediatelythought of Count Dracula. The Dracula legend continues to fascinateus. Each generation since Bram Stoker’s novel seems to have itsown reincarnation of the vampire. Ted Tiller’s version, based on thenovel and echoing the 1931 Bela Lugosi film, is a melodramatic mixof comedy and suspense. Tiller, whom I met when I played the role,was an old world gentleman of polish and sophistication. A veteranBroadway actor who appeared there in such productions as A WitnessFor the Prosecution and The Great White Hope, Tiller could easilyhave been cast as Seward or Von Helsing. He wrote the play in 1971and since that time it has been produced around the world.The script offered the designers, cast and crew many challenges.All who worked on the show have been supremely tested! I wish tooffer them all my personal thanks for their artistry and hard work. Iwould especially like to thank Leonard Curtis and Ben Sheridan fortheir vision and indefatigable support. I hope you enjoy the show!- Richard GlocknerFor Your Information Larger print programs are available at the box office. There is no smoking in the Strayer-Wood Theatre. Food and beverages are allowed only in thelobbies. Restrooms are located through the large doors at the back of the Strayer-Wood Theatre and in thelower level lobbies. The taking of photographs and the use of recording devices is strictly prohibited. Please checkcameras and recorders at the box office. A public phone is located in the lobby on the outer wall of the box office. Lost and Found is located at the box office. Please turn off watch chimes, alarms, cell phones, and pagers before the show begins. Latecomers will be seated at the discretion of the House Manager.But from whence came these profoundly complicated children of the night, thesegloriously ridiculous monsters who thrill and amuse, threaten and entice? Mostimagine they were the invention of the late-Victorian writer Bram Stoker, whose 1897novel Dracula popularized a particular image of the vampire as an interloper amongthe pure white race of the English. Dracula’s difference—that is, his otherness—standsas sharply in contrast to the imagined purity of the British as do his hard white fangsagainst his soft, moist, red lips. Red and white—blood and skin, blood and milk, bloodand semen, depending upon which interpreter one reads: these are the colors of thevampire, threatening to stain the pristine purity of Britishness, to dirty the clean livingthat Britons wanted to believe was theirs alone.Stoker’s vampire crystallized a heady mix of cultural threats, of “others” whose veryembodiments of difference threatened to sink their teeth into what Britons fantasizedwas their own uniform purity: the New Woman, that early feminist whose radicalideas of freedom are scoffed at by Stoker’s Lucy and Mina; the bachelor, that suddenlyproblematic embodiment of the chaste male whose resistance to marriage unmaskedmatrimony as merely an option, not a requirement, for adult sexuality; the Jew, whoserejection of the belief that Britons positioned at the center of their cultural identitythreatened to obliterate the uniformity of the faith of the race; and the homosexual, thatnewly defined being who had risen to the fore in the same year Stoker began writinghis novel with the accusation, trial, and conviction of Oscar Wilde for crimes of grossindecency. Like Stoker, Wilde was Irish, not English, an outsider writing his way intoto the main stream—and one who, on a more personal level, occupied a fraught role inStoker’s life, since it was Wilde, not Stoker, who first proposed to Florence Balcombe,the young lady who would eventually become Mrs. Stoker after all, and since bothmen had risen to prominence in the relatively small and highly competitive worldof the London theatre. Such was the genesis of Stoker’s vampire: a figure based tosome degree on existing literary types, including James Malcolm Rymer’s Varney theVampire and J.S. LeFanu’s Carmilla; to some degree on a historical figure, Vlad theImpaler; and to some degree on the “others” who threatened to unravel the increasinglythreadbare notion of Britishness as an unassailable, homogenous cultural type.For me, even a century after its creation, Stoker’s remains the most compellingof the vampire’s myriad iterations, for its embodiment of otherness is not diluted bythe sympathetic aspects introduced to the myth by Anne Rice’s Interview with theVampire series and, more recently, Stephenie Meyer’s Twilight series. Instead, Stoker’svampire offers a shockingly simple reversal of that other compelling cultural type whonegotiates death and life through the blood exchange: Jesus, the Christian Messiah,whose offer of salvation through a blood ritual (the sacrament of the Eucharist) isperverted—that is, repeated and reversed—in the blood exchange of the vampire andhis victim, which at once sustains the figure of evil even as it damns the recipient ofthe vampire’s kiss. Through blood, Christ saves, just as through blood, the vampiredamns. It is this reversal, this perversion, that I find at the center of it all.Then again, it’s fun to be scared, and there’s something terrifyingly titillating aboutall that necking. In the end, one is left to hold the vampire now in fascination, now infear, the very sort of double-response we have to all things that complicate that notso-fixed boundary between good and evil, life and death, self and other. In some ways,the vampire is already (within) us, and that is perhaps the most shocking aspect of itscultural centrality: me and not-me, the vampire appears before me as the embodimentof difference, yet it holds up a mirror to show me that I am that difference, too.

CastProduction TeamProduction Manager.Amy S. RohrBergProduction Stage Manager. Jascenna HaisletAssistant Production Manager. Tom KobesAssistant to the Production Manager.Brett JonesDialect Coach. Gwendolyn SchwinkeAssistant Director.Benjamin S. SheridanAssistant Stage Managers. Michaela Nelson, Matthew VichlachFight Captain. Laura NeillAssistant Lighting Designer.Mandy HeathAssistant Costume Design Team - Costume Design Class.Benjamin S. SheridanTori Rezik, Michael Brown, Mandy HeathAssistant Hair & Makeup Designer. Amy Garretson*Scenery Studio Technical Director. Ron KoinzanScenery Studio Assistant Technical Director.Aaron Mayer †Special Effects Coordinator. Mark A. ParrottSpecial Effects Designer/Co-Coordinator.Britin Tylar RobinsonScenery Construction Crew. Chad Albert, William Azbill, Callie BuckMelissa Champion, Joshua Dirks, Sarah Duster, Neena Eaton-McClendonGleena Goldman, Mandy Heath, Jonathan Hudspeth, Jessi Kadolph, Al KuekerAaron Mayer, Stephen Miller, Sam Pelelo-Ray, Seth Pyle, Matt Runnells, Kris RutzKaty Slaven, Allie Smith, Sara Spieker, Ethan Taylor, Matthew VichlachRonald L. Wells Jr., Stephanie Wessels, Katie WilfordPaint Crew. Michael Owen Achenbach, Ashley Armstrong, Victoria ArreolaWilliam Azbill, Julie Baldwin, Lucas Bauer, Michael Brown, Nicholas Chizek, Kelli CraigNick Divarco, Neena Eaton-McClendon, Elyssa Espanto, Amy GarretsonGlenna Goldman, Ian Goldsmith, Sam Lilja, Shelby Long, Rachel Malkewitz, Aaron MayerKathy Mixdorf, Andrea Morris, Eden Neuendorf, Rachel Rathe, Rachel RussellLindsey Sample, Allie Smith, Steve Taft, Jordan Taha, Coral Thede, Abby ThiessenAustin Vincent, Ronald L. Wells Jr., Stephanie WesselsProperties Master. Ronald L. Wells, Jr.†*Properties Assistants.Jessi Kadolph, Lindsey Sample, Stephanie WesselsProperties Construction Crew.Nicholas Chizek, Michaela NelsonSam Pelelo-Ray, Cara UllrichDeck Chief.Michael BrownProps & Scenery Run Crew. Callie Buck, Joshua Dirks, Alexis Kline, Shelby LongRachel Malkewitz, Seth Meyer, Jordan Taha, Coral Thede, Justus Thompsen, Valerie VivianMaster Electrician. Jonathan HudspethAssistant Master Electrician. Ben SchulzElectrics Crew.Chad Albert, Ashley Armstrong, Michael BrownNicholas Divarco, Neena Eatmon-McClendon, Anthony James Lempares, Sam LiljaSam Pelelo-Ray, Matt Runnels, Rachel Russell, Ethan TaylorLight Board Operator. Nick DiVarcoSpot Light Operator.Sarah KleinhesselinkCostume Studio Technical Director.Linda GrimmCostume Studio Assistant Technical Director. Michael Owen AchenbachCostume Construction Crew. Michael Owen AchenbachCatherine Au Jong, Lindsey Banes, Jessica Baumeister, Jenny Blindt, Michael BragaCassie Brokaw, Emily Ann Brueck, Becca Byrne, Ashley Capare, Ashley CaponeJordin Cowan, Mackenzie Cowden, Kelli Craig, Anna Croghan, Emily Draffen, Jill Edwards,Lauren Galliart Amy Garretson, Abbie Gobeli, Tyler Gracey, Jenna GraupmanncontinuedSybil Seward. Andrea Michelle MorrisHennessey. Tyler GraceyDr. Arthur Seward.Jeremy DixonRenatta.Dani Jo StephensonWesley.Michael BragaJonathan Harker.Nicholas ChizekMina Murray. Eden NeuendorfCount Dracula.Michael Owen AchenbachVan Helsing.Sam LiljaLucy Westenra.

Stoker’s life, since it was Wilde, not Stoker, who first proposed to Florence Balcombe, the young lady who would eventually become Mrs. Stoker after all, and since both men had risen to prominence in the relatively small and highly competitive world of the London theatre. Su

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