An ancient castle renovated to accomodate Dr. Seward's living quarters and asylum for the insane.
Act Two - Nearly midnight, three nights later.
Act Three, Scene 1 - Twenty-eight hours later, before dawn.
Act Three, Scene 2 - The Crypt at daybreak.
Review by Vinny Ferrelli
There is frequently a very thin line between horror and comedy, both in film and on the stage. Most classic horror films contain a comic character to ease the dramatic burden a bit and provide a respite from a continuous emotional involvement by the audience. On the stage particularly, an arch-villain or antihero is apt to be endowed by the author with a sharp wit, or cynical sense of humor as a backdrop to the darker areas of his personality and the contrast tends to be a very beneficial aid to the flow and development of the plot. A prime example is the title rold in Count Dracula, POWPAC's Halloween offering. Ranking amont the most complex roes penned for a horror story, the Count must have the correct portions of evil, suave, sex appeal, cunning, wit, arrogarnce, and humor. Fortunately for POWPAC, Andrew Rowe fulfilled all the above requirements with some to spare. His hypnotic baritone voice held the house in trance while he filled the stage with an ominous bat-like presence which would compete with Christopher Lee. Rowe's versatility as a comic and master piano player in "el grande de coca-cola" and now the demonic Dracula leaves one anxious to see more of him on the boards. Beth Kraft was delicious as the sibilant Sybil Seward while Jeffrey Thurman was a precise, if not underplayed Arthur Seward. His performance tended to stay on one level and I know from previous work that he is capable of multiple levels of energy; less intensity would have enhanced his character. Cassandra Hawkins was a chilling Mina, the frail aristocrat turned vampire. She was able to make the transition between human and vampire with an agility rarely seen outside professional theatre. Barbara Steele has nothing on you, Cass! Daniel Grossbard, as Van Helsing, was everything Peter Cushing was not. In the past, I've compared the failure to live up to the aura created by a particular actor in a role as a production pitfall. In this case, it was a credit to the abilities of this fine performer to create a "country doctor" type Van Helsing as crisp as fresh celery.
The triumvirate of directors, Helen Shalvoy, Danny Morris, and Annette Huffman put together a fine cohesive cast with several supporting roles helping, more or less, to create a truly chilling experience. The set was a curious mixture of sitting room and stone cave. POWPAC would do well to invest in a dimmer board; otherwise, the lighting was primarily on-off. I'm not sure the strobe light achieved itsdesired effect until the bat scene. John Grantham did a fine job on specials including a flying bat, the visage of Dracula in a picture, gunshots and screams. Except for a rather anticlimatic death of Count Dracula, Halloween was particularly chilly in Poway due to this show.
|Directors||Helen Shalvoy, Danny Morris, Annette Huffman||Printing||Micro Service|
|Producer||John Grantham||Program||Sandy Roseland, Jim Payton|
|Stage Manager||John Grantham||Flyers||Sandy Roseland|
|Set Designer||John Grantham, Diana Smith||Ticket Managers||Bob Link, Faith Link|
|Lighting Design||Jim Millard||Publicity||Danny Morris, Claire Bugado|
|Sound Design||Ken Bowers||Portrait Artist||Jeffrey Adzima|
|Costume Design||Pat Paulson, Danny Morris||House Managers||Nancy Green, Annette Huffman|
|Special Effects||John Grantham||Hospitality||Brenda Robinson, Peggy Hughs, Annette, Nancy|
|Props||Pam Block||Stage Crew||Lynn Pederson, Jeanine Mueller, Gail Miller, Pam Block|
|Make Up||Gail Miller, Peggy Maki||Set Construction||Norm Green, Dan Huffman, Diana Smith, Doreen Jacobs, John Seagren, Ed Heaton, Ken Bower, Jerry Hughs, John Grantham, Lynn Pederson, Barbara Adzima, Jeanine Mueller|
|Program Cover||Sandy Roseland|