Dracula Title
Character Breakdown


     Audition sides for all characters can be picked up at the Theatre.  There's a packet of two or three scenes or monologues for every character in the play. Copies of the entire script are also available.

     Men can read for any role they feel is appropriate to their age and type.  Women can read for Lucy, Mina, or both, and all women should plan to read the Maid's scene with Dracula. 
   

MALES
Character Age/physical requirements Description
Jonathan Harker 20’s to (at most) early 30’s Mina’s fiancé, a solicitor
Dr. John Seward any age from 20’s to (early) 40’s Lucy’s suitor, the head of a
lunatic asylum, a researcher
Renfield any age, probably emaciated-looking, or,
at the very least, hungry
“a madman”
Abraham Van Helsing 40’s to 60’s a professor
Dracula late 20’s to 40’s, handsome, fit a Count from Transylvania
1st, 2nd Attendents 18-35 will play various ensemble
roles throughout the play;
one might play a male
“Vixen”
 
FEMALES
Mina 20’s Harker’s fiancée
Lucy 20’s to 30 Mina’s friend
Vixens, Maid, etc. young, slender, athletic will play various ensemble
roles including Vixens, Maid,
a female Attendant; willing
to appear onstage clad in
little more than diaphanous
night attire and copious
amounts of stage blood
 
NOTES


Except for Dracula and perhaps Van Helsing, All characters speak with British dialects – the principals in Standard or RP British, the Attendants and servants working class or Cockney.

Van Helsing can speak with almost any European accent.

Dracula need not adopt the now-legendary-and-unfortunately-comic Lugosi “Transylvanian.” He can sound vaguely Eastern-European, or even mid-Atlantic.

For auditions: Please be familiar with the script, and be ready to try out your British or other dialect. If you have a short monologue (1 minute) with a British dialect that would be very helpful to me; if you don’t have experience with dialect work don’t be intimidated, just take your best shot at it! If you are auditioning for Renfield you might consider preparing one of his speeches from the play. Please have a good idea of what character or characters you wish to be considered for, and be as familiar as possible with the script.

Please note that there are not detailed descriptions of “personalities” above. I don’t have strong feelings about this beyond what is revealed in the text, and I am far more interested at this point in how you might see them than I am in forming any preconceptions of my own.

 
 

 

October 25 —
November 4

Director:
Guy Molnar