October 29-November 14, 2015
Director: Stephen Nicolazzo
Set Design: Eugyeene Teh
Costume Design: Eugyeene Teh and Tessa Leigh Wolffenbuttel Pitt
Lighting Design: Katie Sfetkidis
Sound Design & Composition: Daniel Nixon
Producer: Jo Porter
Alexandra Aldrich, Zoe Boesen, Catherine Văn-Davies, Brigid Gallacher, Amanda McGregor, Kevin Kiernan Molloy, Morgan Maguire and Janine Watson
Produced by Theatre Works and Little Ones Theatre.
A high camp homage to silent cinema, horror and the ultimate queer hero, The Prince of Darkness.
From acclaimed company, Little Ones Theatre, came a new theatrical event that recreated the Silent Film experiences of the early 20th Century live on stage. Gothic and erotic, this non-verbal theatrical exploration took Bram Stoker’s novel into the realm of physical theatre. Highly stylised with an entirely original score and references to New Order, Bauhaus and Smokey Robinson, this Dracula was equal parts Buster Keaton, Bela Legosi, and Kenneth Anger.
An extravaganza inspired by the cinematic evolution of one of literature’s most intriguing queer figureheads, Dracula played a sold out season at Theatre Works in St Kilda, was critically acclaimed and made it into The Age’s Year In Review 2015. Dracula was also nominated for a 2015 Green Room Award for Best Direction (Stephen Nicolazzo).
“Dracula is one part Artaud, one part Annie Sprinkle…Its an insanely detailed and gloriously sensual piece of theatre. We’re left in no doubt that horror and camp are lovers, incestuous and inseparable.”
“Stylish, erotically charged and droll vampire romp…a striking achievement.”
“The cast are spectacular, precise and energised and bring the piece a delicious serve of irony and excess. Aldrich and Davies are superb. Little Ones are the country’s leading proponents of queer theatre, and they’ve produced a gorgeous and playful piece… a juicy blood orange to sink ones teeth into.”
“Little Ones Theatre have one of the most unique voices in Melbourne theatre. Director Stephen Nicolazzo embraces high-camp without the condescending tone or gender insult that camp laughs often come from. Inspired by the 1980s but seen through today’s eyes, their worlds are visually arresting, sexually free and always unforgettable.”