a modern amorality play in two acts
Part of Act One: Dr. Seward's Sitting/Consulting Room, Summer, 1929.
If you are interested in reading the full play, click on the link below.
Amateurs and professionals are warned that Dracula (Undressed) is protected by copyright and may not be performed without permission of the author or appointed agents. All inquiries should be addressed to the author. Use email address at www.jmucci.com.
|Dracula (Undressed) was presented for the first time at the Community College of Allegheny County, South Campus, in West Mifflin, Pennsylvania, on Oct 30th, 1975, and had the following cast:|
|Doctor Seward||Art Santoro|
|Ruth The Maid||Maggi Cook|
|Jonathan Harker||Gene Benedict|
|Professor Abraham Van Helsing||Michael Goodson|
|Lucy Seward||Judy Sears|
|Count Dracula||Ronald Sposato|
|Mina Yerna||Donna Hryshchyshyn|
Lucy's fiancé, Jonathan is summoned to help, in his own peculiar way, as is Professor Van Helsing, who has seen these symptoms before. The problem, it is discovered, stems from a new neighbor, Dracula, who brings riotous good times wherever he goes, heedless of what destruction follows. Van Helsing traps Dracula by serving him Jewish hors d'œuvres. A mysterious Bat arrives shortly thereafter, causing mayhem. Van Helsing swears he knows how to stop this evil menace. Harker is confused.
The gentlemen throw a party the next evening, but it's not the one which Lucy expected. They meticulously re-create Lucy's sixth birthday, trying to win her heart as well as distract her from Dracula's clutches. Harker is further confused by a visit from Mina, whom he learns was buried only a month before. Despite egg races, hot-potato tosses, and even scandalously improper calls on the telephone, Lucy is brought to a crisis only to conclude that her father never gave her the means to deal with life after her sixth birthday-so all this seems very natural to her. What with the problem of tying people up in beef rolls, administering caustic high-colonics in the hallways and dealing with shrieking cats in the alley, it is no wonder that the shattering conclusion to the play deals with the illusions upon which all adulthood is based. Although the most sophomoric of farces, its theme is deadly serious: if it feels good, admit it.