First— there are such thing as vampires.
Second— this is the third performance in the three-show The Horror Rep with We Happy Few in residence at the Capitol Hill Arts Workshop. This is Dracula, directed by Robert Pike, adapted from Bram Stoker’s novel, and devised to the stage by Grant Cloyd, Keith Hock, Meg Lowey, Kerry McGee, Robert Pike, and Jon Reynolds. This is fierce.
Hear the loud theatrical bells— brazen bells! What tale of terror now, their turbulency tells! In the startled ear of night— amid a Horror Rep of fright— how they scream out with delight— of We Happy Few’s A Midnight Dreary. They clearly keep on ringing, much do the praises that I’m singing, of their Horror Rep’s production of Edgar Allan Poe and his various death knells, and storms that quell,
All that I should say seems inadequate and feeble in regards to this glorious production of Frankenstein that We Happy Few have set down to kick-start their Horror Rep in this 2018/2019 season. With spirited ensemble nature driving the life-force of the performance, this hour-long bulleted intensive of Mary Shelley’s masterwork is an engaging thriller that submerges you right in the midst of Dr. Frankenstein’s crisis. Directed by Robert Pike &
“It is true, we shall be monsters, cut off from all the world; but on that account we shall be more attached to one another.” – Mary Shelley’s Frankenstein
If there were a conceivable method to resuscitate the dead, would you want to use it? How far would you go to achieve this goal? What if it all went horribly awry? Fictional character Victor Frankenstein attempts to do just that in an infamous novel published in 1818 by author Mary Shelley.
Just the name alone brings an image to the mind, Frankenstein. What did you picture? A large green man with stitches covering him and bolts in his neck? While that is the general depiction of Frankenstein in our society today, the reality is that the name actually belongs to the doctor that gave life and not to his creation. Though it could be said that Doctor Frankenstein himself is the monster all along, a thought that drives the current production of Frankenstein at the Bowie Playhouse.
I saw a figure. Or was it a reflection? A brilliant shimmering glimpse of Mary Shelley’s core essence, captured in theatrical perfection upon the Maryland Ensemble Theatre main stage as autumn brings a new adaptation of Frankenstein into their season. Devised by the ensemble under the riveting Direction of Co-Artistic Director Julie Herber, this new concoction is a striking and tragically beautiful amalgamation of Shelley’s most poignant words of prose.
It’s alive! And rising up from the creative minds of Maryland Ensemble Theatre! Frankenstein, newly adapted for the stage as a part of the 2015/2016 season, the Mary Shelley classic finds its footing in an innovative new approach this autumn. In a TheatreBloom exclusive interview, we sit down with Director Julie Herber to discuss the good doctor and his creature, learning and discover just who the monster is.
If you’d give us a brief introduction of who you are and what of your work the readers might recognize,
Everything in existence takes its color from the hue of our surroundings. When the hue of your surroundings is shrouded in mystery and tingling chills the resulting artwork can be quite chilling this time of year. Debuting as a world premiere at The Twin Beach Players, The Island of Doctor Moreau as written and adapted by Baltimore-based playwright Mark Scharf arrives just in time for the spooky shades of autumn. In a TheatreBloom exclusive interview we sit down with Mark to discuss the inner musings of his new work.
Everyone dies; it is a fact of life. Fortune’s Child, a new work by Baltimore area playwright Mark Scharf has made its debut at the Baltimore Theatre Project this winter season of 2015. In a TheatreBloom exclusive interview, I’ve sat down with the playwright to discuss the work and what it is meant to tell the audiences who see it about living life.
Thank you for taking the time to sit down with the readers of TheatreBloom for this interview,