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Dracula

 Lucy Sleepwalks  Dracula 2 2  How to save Mina 2
Dracula 2 D9  Hunting Dracula
D4 Dracula 1  Van Helsing
D5  Seward Renfield Mina  Harker

With thanks to Alex Marker

 Interview with Directors Kirsty Cubberley and Krista Vuori

Can you tell me a bit about the play?

KC: It is a version of Bram Stoker’s novel Dracula which floats between the myth, legend, and reality of all the Dracula tales. It sits within our memory and knowledge of the story as an audience. 

KV: Our starting point is a steampunk, goth, Victorian world without being limited to a specific year. We give ourselves the freedom of interpretation to create the world the way we see fit.

 

How do you think the actors are going to interact with the play?

KC: The play itself is in the public consciousness because it comes at you from so many creative places: books, films, adverts on TV, even fancy-dress shops. The actors will bring their own knowledge of the play and we will feed off that. 

KV: We spent the first week testing ideas and giving the actors the opportunity to experiment with a devising process. We want the actors to interact with the play, not just the script but creatively finding their physicality in the story.

 

 What are some of the challenges presented by the play?

KC: The challenges are the same as the exciting things because you can get stuck in a rut of a cliché idea of Dracula which both has value and doesn’t. You have to be fresh with the subject the whole time.

KV: It is about not going too far and knowing when you should go further.

 

What does the translation by John Godber & Jane Thornton bring to the play?

KC: Jane and John have brought a physical reality to Bram Stoker’s iconic novel which makes it fast paced and highly engaging. It is a pleasure to bring their thrilling words to life.

 

What will the use of two directors bring to the play?

KV: I am a major advocate for collaborations. There is always something that you can learn and develop, which is a huge benefit. The ideas that you might have as an individual can be enhanced by the other person. You can find new ways of interpreting something.

KC: We spent quite a lot of time discussing ideas before we started so we knew that we were seeing the same shape of the piece. We work quite similarly; we are both movement based so we are often coming from the same place.

 

So you both have a movement based style, what does that bring to the play?

KV: We both see movement as being as important as the words itself to telling the story.

KC: There isn’t any dancing or choreography, rather the movement is central to the story. It is not on top of the story. It is a vehicle to tell the story.

  

Lastly, can you describe the play in three words?

KV: Bodice ripper. Hurricane.

KC: Explosion. Power. Dissolution. 

Graduate productions

Alumni

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  • Henry Settle
BA (Hons) in Professional Acting
2020
Three years at Drama Studio London has given me so much. Industry-geared lessons from real working professionals have made me confident in approaching the industry itself. The people at DSL treat you with the respect you need to grow and the expectation you need to push yourself. Often I've had room to spectacularly fail, allowing me to learn from cathartic mistakes. The actor I was on my first day here is unrecognizably different to who I now am.

    Henry Settle

    BA (Hons) in Professional Acting

    2020

    Three years at Drama Studio London has given me so much. Industry-geared lessons from real working professionals have made me confident in approaching the industry itself. The people at DSL treat you with the respect you need to grow and the expectation you need to push yourself. Often I've had room to spectacularly fail, allowing me to learn from cathartic mistakes. The actor I was on my first day here is unrecognizably different to who I now am.

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