"Hysterical, campy fun!"
- Tony Brown, cleveland.com

"Full of suspense, romance, drama and lots of laughs!"

- Dan Shaurette, Out of the Coffin podcast

This extraordinary one-act drama deftly explores the evolution of the centuries-old vampire myth.

Monday, February 01, 2010

The Writer

In our breathless pursuit of getting this piece on its feet in no less than two weeks (oh yes, I keep reminding myself - two weeks) we gave some shape to the third arc: The Interview.

The third part of this story diverges considerably from the first two. The truth is, each stylistically quite different from each other. But as this piece is the first from a modern era (the 70s and 80s) it will not seem as unusual as the first two.

However, that is its own trap. The first two are so much fun precisely because they are larger than life. As we bring the vampire to our modern era he has the potential to become smaller - I mean think about it, he has to a large degree, a point which will be made painfully clear by the time we reach The Book That Must Not Be Named.

And yet, "Arc Three" is more of a ghost story than a vampire tale. And it is the piece that references the most true history, and the most real places. This can be interesting ... or talky. I hope its not talky.

Because the language is contemporary, tonight was the night I felt - as playwright - most like jumping in as director. "No, no!" I was thinking, "That's not what I meant!" In The Count its all so obvious. Here its so ... hip. Ironic. Sarcastic. Unclear. A lot like having a conversation with ME, I imagine.

But hey, there's also a bunch of physical stuff. We've been kind of and then a miracle happens whenever we reach a piece of necessary choreography (see: the Nosferatu sequence) but we did work the strangling scene ... and Dusten and I do a lot of heavy breathing on each other.

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