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Directing Resume

For a downloadable / printer-friendly version of Gregg W. Brevoort's Directing Resume:

 

Production Information

DRACULA

Based on the novel by Bram Stoker
Adapted by Hamilton Deane & John L. Balderston

Directed by Gregg W. Brevoort

Nancy T. Hansen Theatre PURDUE UNIVERSITY
West Lafayette, IN

Design / Production Team

Set Design

Lighting Designer

Costume Designer

Sound Designer

Stage Manager

Assoc. Stage Manager

Technical Director

Properties

Dialect Coach

Katrina Miller
R. Lee Kennedy
Joel Ebarb
Phil Ingle
Matt Shives
Nick Downham
Christopher Brink
Heeyoung Son
Richard Sullivan Lee

CAST

Miss Wells, a Maid

Jonathan Harker

Dr. Seward

Abraham Van Helsing

R. M. Renfield

Butterworth, an Attendant

Lucy Seward

Count Dracula

Louise Cracknell
Matthew David Gellin
Jake Mahler
Rob Hinds
Cullen Deady
Sebastian Smith
Greta Wohlrabe
Patrick Midgley

*  members of Actors Equity Association

Reviews

The Journal & Courier
Don’
t Miss Purdue Theatre’s Dracula!

– “This Gregg Brevoort-directed production is utterly captivating”

– “Brevoort and his team have crafted a wonderfully entertaining production. Superbly executed”

– “Meticulously and delightfully nuanced”

– “Act 2 generates electricity. The most riveting moment, an erotic, blood-lust scene between Dracula and Lucy, delivers a WOW moment on stage. And if that’s not enough, Act 3 boasts a disappearing act you have to see to believe”

 

Director's Notes

Just a few weeks after the Hollywood release of the goth spectacle Underworld, and just a few months since the teenage blockbuster Twilight, one perhaps wonders: can a 1927 stage adaptation of Dracula stand up to the latest CGI-enhanced treatments of the timeless vampire mythology? Can the theatre even compete? Short answer: the theatre puts you in the room with the one thing CGI cannot: real people.

But even before that discussion - How can we create in the theatre an evening of fear and suspense when everyone watching already knows the story? And not just knows the story, but knows every plot point along the way? When the characters ask, “What is wrong with Lucy?” The audience already knows. When the characters ask “Who might be responsible?” The audience already knows. When finally we are faced with the culprit himself, his outcome is known by all. And besides, nobody believes in vampires, anyway. Good Lord! How do we create fear and suspense under these conditions?

Well, again, the theatre has a certain resource that trumps all devices: real people. In fact, at the core of drama one finds not just story and ideas, but character and relationship. The live actor takes on character, explores relationship and lives truthfully within the given circumstances. He/she creates real, live moments of flesh and breathing right there in front of you, the real, live spectator. It is hard not to believe in the actor, he is standing right there. The theatre has an intimacy that is unique and ultimately interactive. The last collaborator to join the Creative Team is you.

And yes, there will be fog, and things that go bump - a scream or two might startle you - but Dracula is so much more than these effects. Again, it is about character and relationship - and the fears and anxieties of these people trapped in these rather bizarre circumstances. When Lucy is asked what is wrong she first speaks of bad dreams. Renfield desperately wants to be saved. In rehearsal we have discovered that the fear and suspense in this play come from a real psychological and emotional place. It is these elements that create tension. No special effect can even begin to capture that onstage, or put that on a cineplex screen. The actor alone can bring those moments to life in the here and now.

Fear and suspense are suddenly in the room. And so are you.

Enjoy.

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