Deluxe Dracula: Deluxe Edition (Deluxe Illustrated Classics)

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Gorey attended Harvard University from 1946 to 1950, majoring in French literature, studying with John Ciardi, and rooming with the poet Frank O’Hara. Gorey’s earliest illustrations date from this period, when he also designed sets, directed, and wrote for the Poets Theater, along with O’Hara, John Ashbery, Alison Lurie, and Violet Lang, among others. His eccentrically dressed persona – long overcoats, tennis shoes, clanking jewelry, and eventually a luxuriant beard – was established at Harvard. In 1952, Gorey moved to New York to work in Doubleday’s new Anchor Books division, eventually designing more than fifty distinctive covers and achieving recognition for his illustrations. He worked for various publishing houses until turning freelance in the mid-1960s. He also began writing and illustrating his own books, publishing in 1953 the first of what would be more than a hundred small, enigmatic volumes: The Unstrung Harp, the illustrated story of the travails of a novelist. While Gorey claimed that he knew nothing about being a writer at the time, Graham Greene called The Unstrung Harp “the best novel ever written about a novelist and I ought to know.” Partly because of the introductions to the Public Television series Mystery!, created with the animator Derek Lamb and his team in 1980 and still in use, Gorey is best known to the wider public for his drawings. In his books, which chronicle a vaguely Edwardian world of patriarchs in ankle-length overcoats, mustachioed men in padded dressing gowns, wantons with nodding plumes, uniformed housemaids, and children in sailor suits and pinafores, images carry the ambiguous narratives as much as the text. His often relentlessly cross-hatched, inventively patterned pen and ink drawings can be obsessively detailed, full of small events that we must work hard to discover, or, as in the 1963 masterpiece The West Wing, which is devoid of text,miracles of suggestive economy. Yet Gorey always depicted himself as a writer, not as an artist. He described his books as “Victorian novels all scrunched up.” Manhattan, early 1970s. Photograph by Bill Cunningham. From The Unstrung Harp (1953) Skal, David J. (2004). Hollywood Gothic: The Tangled Web of Dracula from Novel to Stage to Screen (Reviseded.). New York: Farrar, Straus and Giroux. ISBN 978-0-571-21158-6. OCLC 966656784. Harker now has nothing to do with bringing Dracula to England, it was some other unnamed real estate agent, who helped the Count to buy property in England. Ironically it is mentioned that Harker did visit Transylvania once and even heard some stories about Dracula’s castle, but this journey was completely unrelated to Dracula himself or his relocation to England and is simply treated as one of Harker’s many trips across Europe. It should be noted,” Goreyana writes, “that all the sets for Dracula were hand painted by talented scene shop artists. Every cross hatched line on the walls, furniture, and floor had to be recreated to size by hand.” This is indeed impressive, and Gorey is probably right: the sets, which he also seemed to loathe, were probably more deserving of the Tony than the costumes. “The overall aesthetic,” says Rutigliano, “matches the period of the original Broadway run, the 1920s.” (The production won another Tony for Most Innovative Revival.)

During the original Broadway run, members of the Dracula cast presented an adaptation of the play on 30 March 1928, on the short-lived NBC Radio series Stardom of Broadway. Lugosi, Van Sloan, Peterson, Neill, and Jukes performed on the 30-minute program. [44] Films [ edit ] Bela Lugosi in the 1931 film adaptation If you want to see them in person, you can swing on by to the Special Collections on the third floor of the Main Library. Otherwise, on October 28 th, 11:00am – 3:00pm, we will be hosting a Halloween Pop-Up Exhibit on the first floor of the Main Library, where the complete construction of Dracula: A Toy Theatre will be the star of the exhibit, along with a showcase of some of our spookiest comics and fanzines. Waller, Gregory (2010) [1986]. The Living and the Undead: Slaying Vampires, Exterminating Zombies. Urbana, Illinois: University of Illinois Press. ISBN 978-0-252-07772-2. OCLC 952246731. Directed by Ira Hards with scenic design by Joseph A. Physioc, Dracula opened on 5 October 1927 at the Fulton Theatre in New York City. It closed on 19 May 1928 after 261 performances. The Broadway production starred Bela Lugosi in his first major English-speaking role; Edward Van Sloan as Van Helsing; and Dorothy Peterson as Lucy Seward. [12] Raymond Huntley, who had performed the role of Dracula for four years in England, was engaged by Liveright to star in the U.S. touring production. The national tour began on 17 September 1928 in Atlantic City, New Jersey. [13] 1951 UK tour [ edit ] Eder, Richard (21 October 1977). "Theater: An Elegant, Bloodless Dracula". The New York Times. p.C3.He switched the names of female characters, now Mina character was called Lucy Seward, who is the daughter of Dr. Seward and fiancee of Jonathan Harker (named now John Harker). [38] Miller, Patrice. “Bat Ambassador: Edward Gorey.” The Edward Gorey House. Edward Gorey House, n.d.Web. 17 Oct. 2016. Oldham, Lisa L. (22 November 1977). "Jeremy Brett - Later Stages". The British Empire . Retrieved 13 May 2020. Frank Langella, star of the 1977 Broadway revival, reprised the role of Count Dracula in the 1979 film version directed by John Badham. Deane's Dracula premiered on 15 May 1924 at the Grand Theatre in Derby, England. [9] Deane had originally intended to play the title role himself but opted for the role of Van Helsing. This production toured England for three years before settling in London, where it opened at the Little Theatre in the Adelphi on 14 February 1927. [10] It later transferred to the Duke of York's Theatre and then the Prince of Wales Theatre to accommodate larger audiences. [11] Broadway production [ edit ] The first Broadway production opened at the Fulton Theatre in 1927.

Stuart, Roxana (1994). Stage Blood: Vampires of the 19th-century Stage. Bowling Green, Ohio: Bowling Green State University Popular Press. ISBN 0-87972-660-1. OCLC 929831619.

Born in Chicago, Gorey came from a colourful family; his parents, Helen Dunham Garvey and Edward Lee Gorey, divorced in 1936 when he was 11, then remarried in 1952 when he was 27. One of his step-mothers was Corinna Mura, a cabaret singer who had a brief role in the classic film Casablanca. His father was briefly a journalist. Gorey's maternal great-grandmother, Helen St. John Garvey, was a popular 19th century greeting card writer/artist, from whom he claimed to have inherited his talents. He attended a variety of local grade schools and then the Francis W. Parker School. He spent 1944–1946 in the Army at Dugway Proving Ground in Utah, and then attended Harvard University from 1946 to 1950, where he studied French and roomed with future poet Frank O'Hara. Scivally, Bruce (2015). Dracula FAQ: All That's Left to Know About the Count from Transylvania. Milwaukee, Wisconsin: Hal Leonard Corporation. ISBN 978-1-61713-636-8. OCLC 946707995.

Dracula has been a name that has instilled fear and fascination in the imaginations of readers and viewers since its original publication by Bram Stoker in 1897. There have been many adaptations and remakes of the novel since then, including F.W. Murnau’s silent film Nosferatu, eine Symphonie des Graunens, the 1931 Universal Studios version of Dracula starring Bela Lugosi, and Bram Stoker’s Dracula starring Gary Oldman and directed by Francis Ford Coppola in 1992. Murray, Paul (2022). "Hamilton Deane (1879–1958)". The Green Book: Writings on Irish Gothic, Supernatural and Fantastic Literature (20 (Samhain)): 92 . Retrieved 29 September 2023. There was even a play adaptation about the captivating vampire. In 1924, Hamilton Deane adapted Bram Stoker’s novel Dracula into a stage play with the permission of Stoker’s widow. The play toured in England and was brought to Broadway in 1927. Vieira, Mark A. (1999). Sin in Soft Focus: Pre-Code Hollywood. New York: Harry N. Abrams, Inc. p.42. ISBN 0-8109-4475-8.Kabatchnik, Amnon (2009). Blood on the Stage, 1925–1950: Milestone Plays of Crime, Mystery, and Detection. Lanham, Maryland: Scarecrow Press. ISBN 978-0-8108-6963-9. The play was first staged in 1973, and for years, Gorey says, each time a theater company decided to put it on, he was called up to consult. He dutifully turned up each time, scowling glumly and wondering why. When it finally hit Broadway, he saw two-thirds of a rehearsal and left “jaundiced.” The final product left an even more sour taste. It was, he says, “absurd,” but very lucrative. As for the Tony, he says ironically, the award turned out to be “the cross I had to bear,” an embarrassing accolade for costumes he deemed unworthy of the honor.