DRACULA, a new adaptation of the Bram Stoker’s classic thriller, is set in the French Quarter of New Orleans at the beginning of the jazz age. Into this Creole and Cajun culture in the courtyard behind Dr. Seward’s home, Dracula begins attacking his victims. Clark has mixed in voodoo rituals, drumming, Spring Carnivale strangers in masks, even comic characters such as Aunt Quincy who likes to drink as much as she likes to eat chocolates. Renfield, the evil count's fly-eating medium, is a black woman. The play was produced at Florida International University in Miami in 2004 and the Wichita Community Theatre in Kansas in 2007.

SETTING

The courtyard behind DR. SEWARD'S home, which is attached to a small Sanatorium, in the French Quarter of New Orleans, 1908. Built in the 18th century, the house is large but not cold. The rear walls of the house form an L shape on the stage right side of the courtyard and upstage with several nooks and crannies. The walls are covered with stucco. There are French doors that open on to a small balcony with wrought iron across the front. Steps lead down into the courtyard on each side. The are a few windows on both the first and second floor. In the upstage right corner a spiral staircase leads up to a balcony and another set of French doors. Under the balcony is a door on ground level that leads into the sanitarium on stage right. On the stage left side of the courtyard is the Dumaine House. Double doors leading into the house are boarded over. . Above there is a broken window with broken shutters hanging off. (DRACULA appears in the window at times.) It is obvious that the house is decrepit and falling a part. Upstage left is a dark alcove leading to the street..) Jutting out from the Dumaine House there is a jumble of blocks of stones. In the courtyard left of center there is a round fountain with a small statue in the center. The fountain doesn’t work, but it provides a great place to sit. On the right is a love seat, a table and a chair. The floor of the courtyard is made of flagstone. There are small trees, shrubs, flowers and a few statues here and there.

ACT I
Scene 1: Early evening in April.

Scene 2: A week later, about sunset.

Scene 3: A month later, early evening.

ACT 2
Scene 1: A few days later.

Scene 2: The next day, an hour before sunrise.


CHARACTERS

WILLAMINA (MINA) HARKER, married to Jonathan and sister of Dr. Seward, is a beautiful, independent girl of twenty-five. She wears the latest fashion and is confident about herself.

LUCY Weston is an attractive, well-developed young woman of nineteen. She is very pale.

QUINCY MORRIS is Dr. Seward’s aunt. She is a spinster, who has never recovered from being jilted at the altar. She sometimes drinks too much.

DR. JACK SEWARD, Mina’s brother, is an alienist of about thirty-five, intelligent, but a typical specialist who lives in a world of text books and patients, not a man of action or force of character.

NEDDA WELLS is the Maid, an attractive young African-American woman.

COUNT ALUCARD is tall, dark and handsome with sexual magnetism, impeccable evening clothes and manners to match. He is cultured, confident, and sensuous. He has dark hair and wears a large black cape, lined with red silk. HE is recently from Belize.

JONATHAN HARKER is a young man of about twenty-five, handsome in appearance; a typical upper crust lawyer, but in manner direct, explosive, incisive and excitable.

ARTHUR HOLMWOOD is a solicitor who has joined Jonathan Harker’s firm. He is engaged to Lucy. He is a good-hearted, innocent young man of twenty-five.

ABRAHAM VAN HELSING is a man of medium height, in the early forties, with a clean-shaven, astute face, and hair which is brushed backward showing a high forehead. Dark, piercing eyes set far apart, alert manner; an air of resolution, clearly a man of resourceful action. Incisive speech, always to the point; raps his words out sharply and quickly. Originally from Holland, his family moved to Aruba in the Dutch West Indies where he was born and raised.

MRS. RENFIELD is a repulsive young African-American woman, face distorted, shifty eyes, tousled hair. She is dressed in a plain, drab skirt and blouse. She eats bugs.

BUTTERWORTH is an African-American Attendant from Haiti who works for Dr. Seward and is in charge of his patients.

KILDA is the cook, a large African-American woman from Haiti.

CAPTAINE, a man in charge of the Courir du Mardi Gras, he is like the old el Capitano of the Italian Commedia. He carries a leather whip, a pouch of wine, a wooden sword.

REVELERS (1 man and 3 women) of the Courir wear colorful loose-fitting pants and tunics of purple, green and gold. Most wear a cone shaped capuchin for a headpiece. Each one wears a mask. One wears a costume stuffed with pillows or other material and performs as the ritual fool or clown. They all illustrate identity inversions: they dress as something they are not. Each one must develop a specialty act: juggling, magic, singing, dancing or playing a musical instrument (guitar, fiddle, triangle, homemade percussion).