Theatre Design & Technology - Spring 2010 - 49

ctors Theatre of louisville has been presenting
Dracula every fall for fifteen years. For the
technical and design departments, this
Halloween-related classic is on our minds for most of the regular season. Either we are in the midst of it, striking it, or planning for the next one. For me as the Wig/Makeup designer at
Actors Theatre, the annual production of Dracula gives me lots
of opportunities to continue improving my skills and discovering new things about special effects makeup.
Dracula, as developed by William McNulty, a longtime
resident actor and director with the company, is unique. "I
am tired of stage and film versions of the story," says McNulty,
"which either romanticize the Count or make him into some
campy buffoon. by placing believable, sympathetic characters
in an environment of extreme danger we hope to have maximum impact on our audience."
To set the stage, the bingham Theatre, the intimate arena
venue at Actors Theatre which is noisy and bright as the audience takes its seats, suddenly goes dark. Fog spills across the
floor. The sounds of wailing apparitions and pounding drums
fill our ears. We hear a single scream, then Mina dashes onto
stage, slamming the iron crypt gate behind her. All is silent for
the space of a breath, and then the ferocious, snarling Monster
leaps out, grabbing and clawing at Mina. Audiences, young to
old, are thrilled and terrified. While the entire two-hour show
is, as you might expect, chock full of macabre sound cues,
lighting effects, and characters both ghoulish and gorgeous,
this opening sequence is essential to pull the audience into our
Gothic nightmare. If even a single effect or cue fails to go off as

Figure 2. Contstuction of The Monster, from the initial latex prosthesis, to some
minimal coloring with bits of hair punched into the top and brows, before the
full wig was attached. More hair was punched in to cover the join. Danny Reyes
played The Monster in 2008 production. Photos by the author except as noted.

planned, then the whole opener could fail. As sound designer
benjamin Marcum puts it, "If the microphone cuts out or the
strobes don't go, suddenly it's just a guy in a mask running
around howling, and that's not scary."

Developing the Design n
The guy in a mask is where I come in. My first task was to ferret out information from Mr. McNulty, about the appearance of
the people who inhabit his vision of Dracula. "When I initially
began work on the show," he told me, "I wanted to underscore
the evil nature of [Count] dracula, to continually remind people of the sinister presence beneath the suave, attractive exterior, so with my design team I developed the character of the
Count's alter ego, a raging bestial creature, part werewolf, part
animated corpse, and utterly demonic."

S P R I N G

2010

theatre

design

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technology

47



Table of Contents for the Digital Edition of Theatre Design & Technology - Spring 2010

Contents
Theatre Design & Technology - Spring 2010 - 1
Theatre Design & Technology - Spring 2010 - 2
Theatre Design & Technology - Spring 2010 - 3
Theatre Design & Technology - Spring 2010 - Contents
Theatre Design & Technology - Spring 2010 - 5
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