DRACULA cannot be described as a domestic novel, nor its annals as those of a quiet life. The circumstances described are from the first peculiar. A young solicitor sent for on business by a client in Transylvania goes through some unusual experiences. He finds himself shut up in a half ruined castle with a host who is only seen at night and three beautiful females who have the misfortune of being vampires. Their intentions, which can hardly be described as honourable, are to suck his blood, in order to sustain their own vitality. Count Dracula (the host) is also a vampire but has grown tired of his compatriots, however young and beautiful, and has a great desire for what may literally be called fresh blood. He has therefore sent for the solicitor that through his means he may be introduced to London society. Without understanding the Count's views, Mr. Harker has good reason for having suspicions of his client. Wolves come at his command, and also fogs; he is also too clever by half at climbing. There is a splendid prospect from the castle terrace, which Mr. Harker would have enjoyed but for his conviction that he would never leave the place alive-
. . .
These scenes and situations, striking as they are, become commonplace compared with Count Dracula's goings on in London. As Falstaff was not only witty himself but the cause of wit in other people, so a vampire, it seems, compels those it has bitten (two little marks on the throat are its token, usually taken by faculty for the scratches of a broach) to become after death vampires also. Nothing can keep them away but garlic, which is, perhaps, why that comestible is so popular in certain countries. One may imagine, therefore,how the thing spread in London after the Count's arrival. The only chance of stopping it was to kill the Count before any of his victims died, and this was a difficult job, for though several centuries old, he was very young and strong, and could become a dog or a bat at pleasure. However, it is undertaken by four resolute and high-principled persons, and how it is managed forms the subject of the story, of which nobody can complain that it is deficient in dramatic situations. We would not however, recommend it to nervous persons for evening reading.
Dracula: L.A. Theatre Works
Narrated by David Selby, John Glover, Full Cast
Bram StokerAdapted — 1 hours, 47 minutes
Dracula: L.A. Theatre Works
Narrated by David Selby, John Glover, Full Cast
Bram StokerAdapted — 1 hours, 47 minutes
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Overview
Program note from Rosalind Ayres, director of the live performance by L.A. Theatre Works: “For centuries man has dreamed of a life beyond death. Chinese Emperors were buried with clay armies to protect them in the next world. Egyptian Pharaohs were entombed with all the belongings they would need in the afterlife. But how might it be possible to cheat death itself? Well, try the myth of the Vampire. One who, by constantly drinking the `life force,' the blood of others, could ensure eternal survival.
In Charles Morey's dramatization of Bram Stoker's 1897 novel, the creed of the Vampire and the Christian belief in 'life everlasting' is juxtaposed. It's the eternal struggle between good and evil. Plus, the confidence of scientific beliefs and theory, marred only by that uncomfortable shaft of inexplicable fear when something goes 'Bump' in the night. Enter Dracula...”
A L.A. Theatre Works full-cast performance featuring:
David Selby as Abraham Van Helsing
John Glover as Renfield
Simon Templeman as Count Dracula
Matthew Wolf as Arthur Holmwood
Moira Quirk as Lucy Westenra
Lisa O'hare as Mina Murray Harker
Nick Toren as Dr. John Seward
Karl Miller as Jonathan Harker
André Sogliuzzo as Maxwell and others
Sheelagh Cullen as Mrs. Westenra and others
Denise Carole as Tart and others
Directed by Rosalind Ayres. Recorded before a live audience at the Skirball Cultural Center, Los Angeles.
Editorial Reviews
Gr 5-9–For readers wanting a small shiver down their spines, these books will suffice. Stoker’s Dracula is succinct and well edited. The art is stale and tame and might titillate, but it won’t produce any nightmares. The adaptation in Dorian Gray can be clunky at times but it covers the main points of the story. The beautiful and youthful Dorian Gray is never very attractive in the illustrations, but the decaying painting will appropriately disgust young readers. The story in The Invisible Man is heavily edited, and the action is crammed into a few pages, but the scenes in which the Invisible Man is on the loose are intense. The illustrations are fairly detailed and include some graphic scenes of blood and a nearly naked Invisible Man. All three books include information about the authors and a glossary. There are better adaptations of these novels available, but these titles provide slim and chilling reads that give a taste of the actual stories for reluctant readers.–Carrie Rogers-Whitehead, Kearns Library, UT
This illustrated adaptation of Bram Stoker's work trades the epistolary nature of the original for a condensed, third-person narration, supplemented by selections from Jonathan Harker's journal entries and from John Seward's memoirs. Hitting the major plot points, like Jonathan's arrival at Dracula's castle and Lucy's frightening transformation, Raven retains much of the subtle terror of Jonathan's imprisonment, while providing Mina with more volition (" ‘Tonight we end this,' added Mina firmly"). Readers will likely be chilled by Gilbert's evocative ink and colored pencil images and drawn to the enigmatic Count, with his long, blond hair and violet eyes. A lavish and accessible retelling. Ages 12-up. (July)
★ 04/27/2015
This full-cast production is a masterly depiction of the Victorian gothic ethos in Stoker’s classic tale. Told through a series of letters and diary entries, the novel begins when Count Dracula lures a young English lawyer named Jonathan Harker to his castle in Transylvania under the pretense of a real estate transaction, but Harker soon discovers the count is a vampire and the diabolical intent in the real estate deal. It falls to the resourceful Professor Van Helsing, along with a handful of intrepid heroes, including Harker and his fiancée, Mina, to stop the count’s evil plans. The readers each have a distinctive voice for their characters and do a perfect job of conveying the emotional content of the assorted letters and diaries. Jamie Parker’s portrayal of Harker is particularly stirring, especially as the character slowly pieces together the horrific truth about Dracula. Alison Pettitt succeeds at providing a gamut of emotions for the voice of Mina throughout the story. Each reader hits the mark with precision. For anyone who has never read (or for anyone looking to revisit) this classic tale of gothic horror, this is a fine way to do so. (Mar.)
"Glennis Byron’s succinct yet comprehensive introduction provides a useful overview of critical responses to Stoker’s text. Even more valuable is the inclusion of supplementary material (some of which has not, until now been readily available) that clearly places Dracula in its historical context."
"Valuable for both research and classroom use. All Dracula scholars will want to own this useful, very reasonably-priced text."
"Glennis Byron has done a superb job of collecting just the right supplementary materials to accompany the novel, including reviews by Stoker's contemporaries, biographical material, information on the social and cultural topics that concerned Stoker and his readers, even a tourist guide to London in the late nineteenth-century."
"No other edition so carefully assembles a wealth of contextual material, nor succeeds so admirably in drawing the reader into Stoker's cultural milieu."
This dramatized version of DRACULA rushes the story’s beginning to concentrate on the vampire’s period in England, where those he’s blighted, with the aid of Dr. Van Helsing, take up battle against him. After the initial haste, the adaptation grows more and more effective. Early on, the audience laughs at perceived hokeyness—the story is old and well known—but the laughter dies away as the chill and creepiness mount. The acting is uniformly solid, though David Selby’s accent, as Van Helsing, is inconsistent. The sound effects—such as a wolf’s howl—are excellent. The story is old but far from dead; it rises up to instill dread and grab you by the throat. W.M. © AudioFile 2012, Portland, Maine
Product Details
| BN ID: | 2940171643546 |
|---|---|
| Publisher: | L.A. Theatre Works |
| Publication date: | 10/15/2011 |
| Edition description: | Adapted |
Read an Excerpt
Jonathan Harker's Journal
(Kept in shorthand)
3 May. Bistriz.—Left Munich at 8:35 p.m., on 1st May, arriving at Vienna early next morning; should have arrived at 6:46, but train was an hour late.
Buda-Pesth seems a wonderful place, from the glimpse which I got of it from the train and the little I could walk through the streets. I feared to go very far from the station, as we had arrived late and would start as near the correct time as possible. The impression I had was that we were leaving the West and entering the East; the most western of splendid bridges over the Danube, which is here of noble width and depth, took us among the traditions of Turkish rule.
We left in pretty good time, and came after nightfall to Klausenburgh. Here I stopped for the night at the Hotel Royale. I had for dinner, or rather supper, a chicken done up some way with red pepper, which was very good but thirsty. (Mem., get recipe for Mina.) I asked the waiter, and he said it was called “paprika hendl,” and that, as it was a national dish, I should be able to get it anywhere along the Carpathians. I found my smattering of German very useful here; indeed, I don't know how I should be able to get on without it.
Having had some time at my disposal when in London, I had visited the British Museum, and made search among the books and maps in the library regarding Transylvania; it had struck me that some foreknowledge of the country could hardly fail to have some importance in dealing with a nobleman of that country.
I Þnd that the district he named is in the extreme east of the country, just on the borders of three states,Transylvania, Moldavia and Bukovina, in the midst of the Carpathian mountains; one of the wildest and least known portions of Europe. I was not able to light on any map or work giving the exact locality of the Castle Dracula, as there are no maps of this country as yet to compare with our own Ordnance Survey maps; but I found that Bistritz, the post town named by Count Dracula, is a fairly well-known place. I shall enter here some of my notes, as they may refresh my memory when I talk over my travels with Mina.
In the population of Transylvania there are four distinct nationalities: Saxons in the South, and mixed with them the Wallachs, who are the descendants of the Dacians; Magyars in the West, and Szekelys in the East and North. I am going among the latter, who claim to be descended from Attila and the Huns. This may be so, for when the Magyars conquered the country in the eleventh century they found the Huns settled in it. I read that every known superstition in the world is gathered into the horseshoe of the Carpathians, as if it were the centre of some sort of imaginative whirlpool; if so my stay may be very interesting.
(Mem., I must ask the Count all about them.)
I did not sleep well, though my bed was comfortable enough, for I had all sorts of queer dreams. There was a dog howling all night under my window, which may have had something to do with it; or it may have been the paprika, for I had to drink up all the water in my carafe, and was still thirsty. Towards morning I slept and was wakened by the continuous knocking at my door, so I guess I must have been sleeping soundly then. I had for breakfast more paprika, and a sort of porridge of maize þour which they said was “mamaliga,” and egg-plant stuffed with forcemeat, a very excellent dish, which they call “impletata.” (Mem., get recipe for this also.) I had to hurry breakfast, for the train started a little before eight, or rather it ought to have done so, for after rushing to the station at 7:30 I had to sit in the carriage for more than an hour before we began to move. It seems to me that the further east you go the more unpunctual are the trains. What ought they to be in China?
All day long we seemed to dawdle through a country which was full of beauty of every kind. Sometimes we saw little towns or castles on the top of steep hills such as we see in old missals; sometimes we ran by rivers and streams which seemed from the wide stony margin on each side of them to be subject to great þoods. It takes a lot of water, and running strong, to sweep the outside edge of a river clear. At every station there were groups of people, sometimes crowds, and in all sorts of attire. Some of them were just like the peasants at home or those I saw coming through France and Germany, with short jackets and round hats and home-made trousers; but others were very picturesque. The women looked pretty, except when you got near them, but they were very clumsy about the waist. They had all full white sleeves of some kind or other, and most of them had big belts with a lot of strips of something þuttering from them like the dresses in a ballet, but of course there were petticoats under them. The strangest Þgures we saw were the Slovaks, who were more barbarian than the rest, with their big cow-boy hats, great baggy dirty-white trousers, white linen shirts, and enormous heavy leather belts, nearly a foot wide, all studded over with brass nails. They wore high boots, with their trousers tucked into them, and had long black hair and heavy black moustaches. They are very picturesque, but do not look prepossessing. On the stage they would be set down at once as some old Oriental band of brigands. They are, however, I am told, very harmless and rather wanting in natural self-assertion.
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