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…

Two people are sitting on the floor facing each other, engaged in a conversation during a stage performance. The woman is wearing a white dress and has dark hair, while the man is dressed in a gray vest, white shirt, and shorts. There is a ladder decorated with greenery behind them, and other performers with musical instruments are visible in the background.

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.”

ALLI DOUBEK, ENTERTAINING CHICAGO

“★★★★… 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.”

ALAN BRESLOFF, AROUND THE TOWN CHICAGO

“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.”

BILL ESLER, BUZZ CENTER STAGE

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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