Dracula: A Comedy of Terrors. 

This truly insane comedy spoof (more Mel Brooks/Monty Python than Bram Stoker) offered a return to me to the challenge of creating a believable, genuine female character within a comic universe. Previous productions of Pride and Prejudice and Cloud Nine have also challenged me with this gender-bending task, and it was invigorating to get this opportunity once again.

This particular script makes a point to play with gender, as a number of the characters are specifically mandated to be played by an actor who identifies with the opposite gender. As the show is a comedy, it seemed to me an easy trap to fall into cliché and metaphorically wink at the audience the entire time (“You all know I am actually a man in a dress, and isn’t this humorous?”) I am not a fan of this approach; I would prefer that, after the initial surprise, the audience eventually begin to let that go and connect instead with the story of the woman. They should stop seeing Bob and start seeing the woman Bob is playing. At least this was the goal, and I felt very confident about how it was realized.

As with another production that I completed as part of my tenure track creative research (Native Gardens), this one also underscored the challenge that comes with playing comedy. This adaptation of Dracula relies heavily on a feeling of “flying by the seat of its pants,” as if the entire thing could fall apart at any time. Of course, that won’t happen, and anyone who has ever done a show in this style knows how meticulously they must be directed and acted to achieve this tone. And, of course, the need for razor sharp timing was present throughout.

Our director, Blake Hackler (a fellow member of the Resident Acting Company at DTC and Lunt Fontanne recipient in the same year as me) came to the table with a VERY specific vision, as well as a soundscape that had a strong presence in the play from beginning to end. The rehearsals kept us on our toes at all times, with Blake offering strong choices while simultaneously challenging us to bring our own ideas to the table. And, indeed, in many cases, he possessed the humility to say, “I never thought of that. That really works!”

A bonus of this production included the casting of a non-binary actor (Captain Milbourn) as Dracula. Rehearsal discussions and talkbacks offered some very honest information about life as a non-binary artist. Given the fact that a number of my students at UNT identify as

non-binary, I gained a wealth of information as far as how Captain has navigated the industry and their thriving career. I have been able to extend that information to my UNT students and have already observed their gratitude at being “seen.”

Physically, a BEATING in the stamina, endurance, and rigor it required—but a great deal of fun!