DRACULA:
A COMEDY OF TERRORS
In a world where curiosity is stifled and questions are met with silence, a group of teenagers finds themselves thrust into the chaos of adolescence without a guide. Melchior, an intellectual rebel; Wendla, an inquisitive girl; and Moritz, a boy burdened by academic pressures—grapple with their budding desires and the harsh realities of growing up in a society that refuses to provide answers.
This is #NotTheMusical…
“Spring Awakenings pushes the limits in the same way that I imagine Frank Wedekind would have hoped for when he was writing the play over 100 years ago. It is creative, unusual, and reminds us that, even today, it is important to keep asking questions and pushing the limits.”
“★★★★… It is the entire group of young people that bring us the story facing these mysteries of life. This cast is superb in making the audience see their hopes, desires and questions.”
“It is a fervent and vibrant production with a cast clearly filled with passion for what might be seen as something of a theatrical novelty... And this show is just plain fun, as well.”
Allison Horvatin (photo by Mollie Menuck)
Nealie Tinlin, Martha Hansen, & company (photo by Mollie Menuck)
Hannah Loessbeg & Jake Griffith (photo by Mollie Menuck)
Manuela Álvarez (photo by Mollie Menuck)
Martha Hansen & company (photo by Mollie Menuck)
Allison Ristiano (photo by Mollie Menuck)
Jake Griffith (photo by Mollie Menuck)
Hannah Loessberg (photo by Mollie Menuck)
When I first read wyrd in 2022, I was struck by how perfectly Matt had already captured a moment in time that seemed too recent to be nostalgic for: the “Pre-Covid Years.” Published in 2018, the play, informed by Trump’s first term and the frighteningly rapid onset of hardcore MAGA ideology, was still clearly written in the before-times. In the wake of Covid and the thousands of deaths that could have been prevented by an administration who instead preferred to fund murderous police departments rather than hospitals, wyrd was one of the first works I had read that made me genuinely wonder, “Could there have possibly been a reason for this? Could it have been worth it for what comes after?”
Now, even more than at the ultimate height of Covid, it feels easier than ever to despair. wyrd showed me plainly that ultimate despair can’t exist without our consent. Choosing to build a better world from the rubble is possible, even when it’s much harder than lying down in the ashes.
DIRECTOR’S NOTE
CAST & CREATIVE
*- DENOTES A LAZY SUSAN THEATRE CO. COMPANY MEMBER
Jacob Gage
Jonathan Harker & others
Cris King
Dr. Westfeldt & others
Valerie Martire
Lucy Westfeldt & others
Laura Michele Erle
Mina Westfeldt & others
Conner Paulson
Count Dracula
Markos Carmona
Jonathan & Lucy u/s
Hayley Brenner
Mina & Dr. Westfeldt u/s
Hannah Loessberg*
Count Dracula u/s
Steve Rosen
Playwright
Bram Stoker
Source Material
Greta Geiser
Combat & Intimacy Director
Nealie Tinlin*
Asst. Director
Lola Fratto
Dialect Coach
Amina Gilbert*
Lighting Designer
Celine Berger
Asst. Lighting Designer
Jon Yawn*
Scenic Designer
Michael Van Bodegom Smith*
Composer
Brayden Gibson
Sound Designer
Holly Osborn
Costume Designer
Jacob Sousley
Stage Manager
Emily Stipetic
Asst. Stage Manager
Phoebe Westbrooks
Asst. Stage Manager
Maeve Carroll
Production Intern
Gordon Greenberg
Playwright
Matthew Masino*
Director
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