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An independent study for departmental honors in English
Research Team
Research Team
Nico Bernard
Nico Bernard
Researcher
English: Creative Writing
Dr. Katie Johnson
Dr. Katie Johnson
Mentor
English
Introduction
Introduction
A new adaptation of Dracula in play format. Inspired by works such as Dracula: a Comedy of Terrors, and drawing on multiple scholarly works to analyze themes within the original story. While the novel is quite lengthy, key scenes have been kept and background events have been summarized to maintain context and developments. One of the most noticeable changes is the gender of specific characters, or the costuming which affects how they are seen by the audience. Dracula oscillates between a feminine and masculine form, while Mina experiences a shocking transformation that remains for the rest of the play. Otherwise follows the novel closely.
Key details
Key details
Outline
Outline
Act 1: Transylvania
1.1: The Borgo Pass
1.2: Dinner with the Countess
1.3: Secrets of Castle Dracula
1.4: Dracula’s Departure
1.5: The Great Escape
Act 2: Whitby
2.1: The Suitors
2.2: Whitby Kirkyard
2.3: In the Asylum
2.4: Sleepwalking Rendezvous
2.5: Call a Doctor
2.6: Godalming’s Interlude
2.7: An Attempt was Made
Act 3: Exeter
3.1: Welcome Home
3.2: Lucy’s Final Rest
3.3: Reporting Back
3.4: The Transformation
3.5: Researching the Count
3.6: Just the Beginning
Act 4: Across the Continent
4.1: Plan of Action
4.2: Getting a Divorce
4.3: Finale
4.4: Epilogue
Casting
Casting
Composed of 8 starring roles and supported by 9 ensemble members. Double casting for all ensemble members lowers requirements for a larger cast, and those with smaller ensemble roles being given 3.
Main cast
HARKER
COUNT/ESS
MINA
LUCY
HOLMWOOD
SEWARD
MORRIS
HELSING
Ensemble
MR PETER HAWKINS
DRIVER
PASSENGERS 1-4
LORD RUTHVEN
PEASANTS 1-3
BRIDES 1-3
SLOVAKS 1 & 2
MR SWALES
MRS WESTENRA
LORD GODALMING
GUESTS 1-3
NACE Career Readiness Competencies
NACE Career Readiness Competencies
Equity and Inclusion
A primary motivator for this project- to acknowledge different perspectives and identities, and portray them with respect. Consider cultural context to present characters in a respectful manner, while incorporating new concepts to adapt them to the modern audience.
Critical thinking
Resolve questions raised during certain sections to clarify or add depth to the work at large. Anticipate issues surrounding choice of casting, while also creating rough drafts of set design and costuming which could impact nuance and understanding of work.
Communication
Maintain a running dialogue with mentor regarding the writing process. Take feedback from mentor and readers to clarify actions and dialogue in the work. Summarize original novel without removing important events or altering historical background.
References
References
Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. Taylor & Francis, 2011.
Clark, Damion. “Preying on the Pervert: The Uses of Homosexual Panic in Bram Stoker’s Dracula.” Horrifying Sex: Essays on Sexual Difference in Gothic Literature, edited by Ruth Bienstock (ed. and introd.) Anolik, McFarland & Company Publishing, 2007, pp. 167–76. EBSCOhost.
Greenberg, Gordon, and Steven Rosen. Dracula, a Comedy of Terrors.
Dracula: das Musical. Performances by Thomas Borchert, Lyn Liecthy, Jesper Tydén, and Uwe Kröger. HitSquad Records, 2008.
Kountz, Samantha, and Isabella Norton. “‘Where There Is Love, Why Not?’: Queer Love and Storytelling in Dracula and Bram Stoker’s Dracula.” Journal of Dracula Studies, vol. 23, Jan. 2021, pp. 31–54. EBSCOhost.
McBride, William Thomas, editor. Approaches to Teaching Stoker's Dracula. Modern Language Association of America, 2025.
Stoker, Bram. Dracula. Edited by Maurice Hindle, Penguin Publishing Group, 2011.
Stuart, Thomas M. “Out of Time: Queer Temporality and Eugenic Monstrosity.” Victorian Studies: An Interdisciplinary Journal of Social, Political, and Cultural Studies, vol. 60, no. 2, Dec. 2018, pp. 218–27. EBSCOhost.
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