Behind the Cape

A look behind the scenes of "Dracula"

more resources

Photos: Click here to view photos.

Share This:

Most notably known for their annual performance of “The Nutcracker,” the Lone Star Ballet has something darker and more ominous in store for Panhandle audiences this fall with the production of “Dracula.” I had the opportunity to sit down with a handful of the people that are bringing it to life, so to speak, as well as be present for one of the dress rehearsals.

Although Vicki McLean, director of dance, has been researching since June, casting and practice for the ballet began only a short six weeks ago.

“It has been a marathon,” she says.

Once seated in her office, I looked to my right and came face-to-face with a stuffed version of the Count himself. Laughing, Vicki told me that she has always liked him and thinks he is an amazing character.

“Audiences have a love/hate relationship with Dracula,” says Vicki. “They love his character, but hate what he stands for. He’s the guy your mother always said you shouldn’t date.”

While some may have a few reservations about the nature of “Dracula,” Vicki says there is no reason for worry because the LSB never does anything that isn’t audience-friendly. She says there is no blood or gore, just teeth and what she calls “ballet theatrical violence.” The audience does need to be aware that it is Dracula. The lighting and sets are sinister and the music is creepy; anyone 10 years of age or younger should probably not attend.

Vicki, who has a Masters of Fine Arts in Dance from Southern Methodist University, is not only directing, she’s also the choreographer for the production. When she began researching, she re-read Bram Stoker’s 1897 novel to refresh her thoughts and feelings toward the story line and see what approach best suited her ballet. She also spent a great amount of time searching for the perfect music and finally found it with Philip Feeney’s “Dracula” composition for the Northern Ballet Theatre Orchestra.

“It is so creepy, but so wonderful for ballet,” says Vicki.

It’s filled with screams, knocks and bells that are traditional in spooky music, yet elements are included to remind the audience that the story of Dracula is not only horrifying, but also romantic. The aspect of crossing the two paths of horror and romance was a challenge not only in finding the right music but also in choreographing the production. However, once the music was chosen, Vicki sat down to work on doing just that by gaining inspiration from the harmonies and drawing out dance patterns based on what she was hearing.

Once casting began and she knew who was going to be what character, it was much easier to go further into the choreographing process because she knew each dancer’s technical abilities, where they’ve been and where they can go. Additionally, having a mature cast of exceptional dancers helped. Although there are some younger cast members, the majority are ages 15 to 30.

“They take the initiative and give me advice,” says Vicki. “They are not afraid to take chances. If I say ‘this is not pretty, this is attack’ they go for it.”

The dancers appreciate the opportunity to have their input in the production. Not only does it help them develop their own character, it also increases the chemistry between all of them onstage.

“It is fun to have part ownership of it,” says Andrew Gehm, who plays Lucy’s fiancé, Arthur. “We were able to mess around and find a lift we like. You feel like you helped.”

The three members of the cast I sat down with, which included Andrew, 28, Roxann Wyer, 22, who plays Lucy, and Ashley Little, 20, who plays Mina, were full of excitement once we began talking about the production.

“Last night we got to see everything for the first time,” Ashley explains. “We are a little giddy right now.”

Amarillo is not used to this, they explain; it is riskier than what is the norm. It is the first production to have surround sound and it’s expected to be intense. They all believe that this performance will draw a crowd that maybe wouldn’t normally be interested in ballet.

“It has a different feel to it,” says Ashley. “There is more acting and theater involved.”

“It is going to be a fun experience, even for the dancers,” adds Roxann.

All of the dancers are locals who, when they aren’t practicing or performing, spend their time either working at LSB or teaching dance at one of its campuses. Not one of them can imagine their lives without dance being a part of it, whether they stay in this area or move away. As for Roxann, she hopes her two-and-a-half-year-old daughter, Jada, will also want to dance once she’s older. She is already a part of the LSB family.

“She knows everyone here,” says Roxann. “And everyone spoils her.”

One person that is sure to be doing some of the spoiling is her grandmother, Elaine Seaton, who is the costume director for LSB. Elaine is responsible for making most of the costumes for the production from scratch. There are some items that are ordered, but for the most part, these works of art come from the workings of her fingertips and sewing machine. The challenge to create costumes that reflect the gothic tone of Dracula, yet that are still beautiful didn’t seem to faze Elaine.

“Vicki and I discussed what she wanted,” says Elaine. “I looked at the colors of the backdrops and listened to the music. I also watch rehearsals.”

She has been working nearly seven weeks and there are 47 members of the cast, with 65 costumes. One of the most difficult pieces to create, she says, was Lucy’s death dress because it had to have the right look and it was difficult to find the right fabric. Elaine accomplished her mission. It is a beautiful, flowing white dream of brocade and satin. All of the outfits are theatrical, but they have slits up the sides in order to allow the dancers to lift their legs.

“There are no tutus,” says Elaine of the costumes. “Most of the fabric is sturdier.”

The fabrics are unlike traditional ballet material which is usually light and breathable. Included in this production are villager ensembles which are made of faux moleskin suede and eyelet lace, party attire of corduroy, damask and taffeta, and of course, the cape which is black faux suede with silky red lining. While there is a dark tone to the Dracula plot, don’t expect to see a drab pallor to the costumes. They are full of rich color.

The backdrops, props and effects are also striking. Included in the props are a stage coach that was made by Q-Design, a graveyard gate, coffins, a large door serving as the entrance to Dracula’s castle and seven set pieces that on one side make up the inside of the castle and on the other side the backdrop for Lucy’s party. Vido Rhodes, the production manager for LSB, is in charge of all the props and it was his idea to use surround sound so that music fills the back end of the theater.

“I thought it would be a cool element,” says Vido. “It should really bring the audience in and the music doesn’t have to be so loud it hurts your ears.”

He made a wise decision because while experiencing dress rehearsal, the music literally gave me chills. The effects such as the lightning for the storm and fog add even more eeriness to the production. Each backdrop fits it’s scene to perfection while using a majority of the stage. The performances will take place in the Globe-News Center for Performing Arts.

“I love the cavernous feeling of that stage,” says Vicki. “It’s perfect for the fog and storms.”

All of the cast and crew have worked really hard on this production. Several have labored every day of the week for the past six weeks and the effort shows. There is amazing dancing to experience, as well as theatrical elements and even superb stunts. Dracula uses a fly cable several times to “fly” in and out of a couple of scenes. It is also used as means for a futile attempt to escape by Quincy, played by Edgar Tarango.

“I can’t wait to see the audience’s reaction,” says Ashley. “That is the reason why I dance.”

Before the rehearsal began, I had the chance to speak to the man beneath the cape. Dracula is played by Anthony Femath, 28, who says he has wanted to play this character since he was 16. He is extremely excited to finally have the chance to play this part. All he had to do to get into character was put in the teeth, he told me.

“I’ve always played the prince,” says Anthony. “This gave me a chance to be mean. I played around with it a lot.”

Dracula’s look has more to it than just a flowing cape and fangs; his makeup also gives him that signature look. Anthony says that Vicki has been doing his makeup but the night of the rehearsal, he is doing it himself.

“We are using a very pale base with gray shading,” says Vicki. “Also, we have lined his eyes and mouth with red.”

Seeing the results in person, I can honestly tell you that Anthony is every bit the part of Dracula needed to make the performance grand.

Vicki says they would like to continue doing something for the Halloween season and rotate “Dracula” in every few years. So if you’re missing out on the show this year, make sure to keep an eye out for its reappearance in the future. It’s sure to be an unforgettable experience.