Photo by Tim Fuller ‘A sene from the Arizona Thestre Company production of “Dracula.” Set design by Bil Forrester: DRACULA By STEVEN DIETZ FROM THE NOVEL BY BRAM STOKER * * DRAMATISTS PLAY SERVICE,CHARACTERS (@ men, 2 women) MINA — a woman inher early ventes HARKER — her fiancé, a olchor LUCY — Mina’ fend SEWARD — Lucy's suitor, head of a lunatic asylum RENFIELD — a madman VAN HELSING — a profesor DRACULA — a Count from Transylvania Additional Actors (2 women, 1 man), who play WAITERS ATTENDANTS MAID. VIXENS ‘TIME and PLACE 1897 London, England. And Tranivania. SETTING ‘The play moves quickly amid numerous environments the pr mary ones being! Luty’s bedroom, Renfield’s cll, Dracula's fase, and the guest room atthe alum. A few specie pieces, fenerally called for within the scene, should suffice for each. ‘Above all, nothing should hinder the constant, uid modon fom one scene wo the next MUSIC ‘Two things. The ability to get under our skin, almost sulin anally, from time to Ume. And, of course, the ability to bow Dard us with terror, when needed. (The author highly recom sends Roberta Carson's original score, composed for the pre iiere production of this play atthe Arizona Theatre Company March 1995. For information on Me. Carlson's music, please contact her at 214 Oak Grove, Minneapolis, MN S508) Tele: phone: 6128740385, EFFECTS ‘This play was writen to be produced in vatety of theaters large and small avshly equipped or gpiealy impoverished. Blood should be plensiful ‘A good sound system is necessary. Beyond that, nearly ALL the effects called for nthe text can be elther simple of, fm some instances, deed Some alter- nate suggestions appear in the sage directions throughout, ‘Others are, obviously, let to the dsereon of the prodction. Inthe end, ifthe characers — and thus, the aulence — take the power and terror of Dracula seriou the effects oe they large of small) wil simply lend credence to this teror. It lmportant, in fact that no elect ever take us “ove ofthe play? for, ulimately, the motion and clarity of the tony i pataeDon’t believe for a moment that he is killing the young. He is costuming angels. Jean Cocteau DRACULA ‘ACT ONE Mic fom te darks, Light ee on — A all table fr doncag, i rot of the curtain. The ale i ae, lego, for one In the chair te table is (t man sering a Mock tnada, Thi ie Repl. le place Ais nahin on Hs lp He ono singer. A Weer enters land file the wine glas on the tae Red of coun. The Wider gues. Reid sips is wine He lols out ot the sndione ENFIELD. Ve are all of us invented We are all oft cobbled together from carlage and dust. Few of us Know with certainty the mame of our maker But Ido, (tte ries ite that i fose down om the table (or aide proj ono the ert) Ts a perf) Bram Stoker Born eight Novesnber, eighteen forgeven, Dublin. A sickly ld ho loved his mother. A young man who, ike all young nen, fll in with a crowd es, that crowd, Tha theatre row ‘Aad our young Bram entered the theatrical profession in 35 low and bate 2 manner as one possibly canAs a cle (ie map his fingers — the Wier enter, conning 4 covered sr plate. eh plas in font of Ref, ue, ‘ot sincover it Then, the Water ets) In 1897, a age ty, Beare Stoker published @ book that would, in mes Become hi des fnitve work. In doing so, he made me. And he gave to me a ame: Ref And, he gave me something more, Something hat so many of you wish for, pray for, beg for — and. yee Will never atin. ome. (ie stiles aba Sin sane ‘sprain changes) U have never forgiven him dat (Rofl i he cover ofthe ltr, reeling — lrg, braun rat rl ae Music. Soend of manie tougher and semaming, Reni the squirming ro by the til ond dang i ata hs Head leg own into his mouth, as “Ther Attendants, in white oats, sh fom and rab Rovf. As he is yonkel peut of his chat ei aa gonbal out af his tse, rating his gegen nar ath ing, This Aayens as — The curtain gens, and —- Rei to hauled ane U. int the distance, lughing, seaming the rt elf tan in At mouth, ax — muse rand, then sts ele lights shift to — Lugs Room. Sunt. A bd and lege edo far prominent Long, thick Back drape frame th winds Mine 1m the ede ofthe ted alding a sins nto. Lag ite te mia of the be, tent Mina Sound of ck thing) MINA," And that way, after we are married, Tl be able to serve as Jonathan's stenographer — LUCK Ms hm, MINA. wil write dow hi choughte in shorthand — LUCY. Min hmm, MINA. Then, later, transcribe them onto a gpewsiter — and herefore be of great help to him i his work a soliton, LUCY. “How fascinating. (Lacy gradually siends on the bed, b- ind Mina. Mina dacs nt nate, ring itil the nba) MINA. He is keeping journal of his business ip abroad — LUCY. A Journal? Real? (Lucy hat pulled vet up fom he land i ring ta a cape: Mina romain waar} MINA, "Yes, in shorthand, And, when he teturn ¥ shall pot ny new tsining to work LUCY. T sce (Lary stends behind Mina, oking down ot er ‘eatoingty) wo MINA, I've heen praccing very hard, Shorthand is = more lificul ar than many people realize. I requltes & —~ (Lug tips he “ape ever Ming, ana pres om hen} LUCY. Be mine be mine forever! Mine sowams, then thy lth agin laughing ond egling 0 they all oreund on the ft. Lay Se idling Mina) MINA, Lucy, op tt — LUCY. I won't sop Wl you put an end to allthis talk of shorthand and journals and business — MINA." haven't seen you in months T thought you'd — LUCY, So don't tk co me of numbers and leery Tel me about your heart MINA,” My heare i resolute LUGY. Forget your heart, ell me of your body. Tell me ‘what thoughts of Jonathan do to your skin and your Bld nd your bones — MINA. Le you're shamefut — LUCY. Then shame me. You're my one tue getiend. You alone can talk to me of the things that dare ot leave this room, (Lazy touches Mina’ fac tondry) Please. (See Mina sare at her) Very well. You've become a practieal young ‘woman, about to marry a man who leaves you cold MINA" No. Not cold. (Solera bit) Not cold a all, (Lay Imaes in ler fo her) Sometimes I think of his touch snd np hands tremble, My lips become wet I ean fee! my heart bese ing in my toa LUCY. "YA delish, datous smile) Oh, Mina MINA. He's only been gone a week, and alveady 1 ache for hima (shot of fight ris om Harker ting a cot. On the god ‘est 0 him an his vase, amd bigfse Sis pis bua Fant sound of bl cling es rusting) Whe letce arrive form him, his words make my hopes sing HARKER. "My daling Mina, I write to you ffom the heart, of the Carpathian Mountains. am spending the night in Biswits, ata fine hotel recommended by my client, the Count ‘Tomorrow, he'll send a catiage for and we'll begin our work hs cute. I'm told this region, known as Traneyvania, i fone of the wildest and least known portions of Europe, Hom uCoruna that my work slows me exotic tips wo strange and dian counsies Ande ood! Tonight, Thad an eggplant Sled wit forcement which they ell Simplest” nde) Be- fore you ask he anawer "Meee — Tid get copy of the ‘expe for you. Aer doer, range old woman veeking of guile took me aside and tld me tha tomorrow ls St George's Day. and should not evel fo vit the Comte She beg waling tat at midnight che dead ops wl Hie and ev wl Hold say over the word Such amusing pagans these people ael She went so far st to pres her Tomy ito my Hands — (elds up the sey th loge cis atc) insnch Uwe kept ata sourent ofthe delghl emnetmes of these imple, mingulded sol Oh my swet Mina, how my heart rele atthe thought of you Fl be home ally and toon, Your loving husbangeote Jonathan. (ig ut on “a, at — Lay evap hi lat sd thing he ot Mina, Hefty —) EGER. Jocatan! (Thy ane aout oh dugg. Lay (a herd Mina hand Hes he ak of pred ir baton) Oh, eect Mina, aoe onty ny hear eles MINA," (Layphing) Luc, you're mad — User, ‘On*barah wo much move of me! You Bll me up slices tonging MINA. (Ptayng sng) Not weee sari I've tld you! (Mina pe ay oe bk Lay rh the en iy [iy hts” hoe lng ack es) Lica. “Mihai the eyo chon? MINA. Inthe ejen of the moon —! Luck, “nich i ich and fll of permission, now what MINA. “(que po, naghy ok) Come and et me have thea of you! GEY. ana (Lyre oe, They ow he ha or he tnd wee on th bed © Mid ens) Sta, Ni Lag TICE (Sider the he) Gn aay tm end MAID. Mis Une. tat gendeman fs here again, (A mation der het se Lay ek er hee np. Thon nde sexs an ag) tangas? MAID. ise Svat the dco, Mina. Sout. Da, nat shui nine Let Ta mo come bc omorow: 1am inion MAD. ey we MINA, ecu Why dd’ yo et mes UC At dep he ab on Jou ty ou, How many tines ma Tk Yu? (Fe Mai od ape tn oe Se wider — fn sono eng te ar ad rs in ey gs nd) Dana" seca gy Tat nhs weve vido ne drotes sine we ere cen Tete man son of re Sienna te er Teme GH "Om Mg cnt you gana Lin ov! (ned flout sce fo fave a Tum) tn ee Mind om hor tran te dan fow toe eth roe Mana the prove UGE Htmear bot spo Ming, 1am no indore am nde Big” Wheto mary him or a02 CI No. Wl neo theo my. Mina: Thee inmore an ont Gor_Tret her sre Me, whoa ee yes neve It hen eo of er ave ey propel Mata Who? tans i lf lof eh of te wey, ” ve ‘Holmwood, the judge; and Mr. Morris, the Texan. Nina Does he he hoe CE ree the en fat hes Mina. togat THUG Anton Bx Sonat ~ onl tense and ley incon fa iene anc ms He rset he tro deem inrpeton snip Oa acy wt nde poebe man hve Ser apse inn gy vac ou do 1sLUCY, Why cane they tee git marry three men and ave allthis wouble? Yes, know, that i herexy and f must not ay it — but, dear Mina, allthis happiness har made me se 2, ‘erly miserable .. (She breaks down anders, as Mina Hol ood comps her) MINA Oh, sweet Lucy. Hold tight and have hope. My lore 's amy, your loves are too near. We shall mingle wor teas to ether (Asaf of light on Horr, Hs cats ff Rs stoves oe ‘old up. He olds some papers. He sip from a argue, Faint sound of weles howling, es musing) HARKER. My dear Mina, what place tam ia! Mr. Dawkins fever let on what a grand job he had asigued to me. I mon, thank him on my ret. The ervage came as scheduled the