![]() “There are a lot of vampire movies on Netflix,” he joked. Goforth’s preparation for the role extended far outside the rehearsal space. “It has a clear narrative with this musical-theater quality,” Walsh said. Stevenson, the choreographer behind the ballet production of “Cinderella,” marries the classicism structure of ballet with the popular story of the Transylvanian count. “It’s a masterful first act in that you get such an eerie sense of Dracula and his world.” “Enjoy this, girls!” calls out repetiteur Dominic Walsh as two brides grip Flora’s arms and force her into Dracula’s clutches.įor five weeks, Walsh has been teaching NBT dancers Ben Stevenson’s 1997 choreography. The first act closes with the introduction of Dracula’s newest conquest, a village girl named Flora.Īs Flora, portrayed by Alissa Dale, rushes to escape, the brides drive her back toward the vampire. With every turn of Dracula’s head, an extension of his pinkie or the taunting spin of a finger, ballerinas leap and twirl around him. Their movements follow even the mildest of Dracula’s suggestions. ![]() He becomes a bat and is flying.”ĭracula’s 20 brides lifelessly swell to the middle of the stage, then snap into neatly organized rows. It’s having it be a part of the character. “I’m not just wearing a cape and running around the stage. “It’s different working with a costume piece like that,” Goforth said. Goforth moves with intensity and restraint, instantly transforming his velvet cape into an immense pair of wings before soaring across the stage. With a score by Franz Liszt, the curtain rises to Dracula looming over the audience. “It’s balancing his nobility with who he is with his brides and the side of him that’s a vampire. “It’s intense,” Goforth said before an afternoon rehearsal last week. Set to eerie music and amid rich, immersive sets and costumes, the haunting world of Dracula takes on new life in Nevada Ballet Theatre’s first production of the iconic tale.įor company artist Steven Goforth, portraying the vampire is a welcome challenge. Cannon Las Vegas Review-Journal in time for Halloween, Nevada Ballet Theatre is reviving Dracula.īram Stoker’s vampire will saunter out of the shadows and into The Smith Center’s spotlight for four nights preceding Halloween. And Russell himself did re-visit the vampire genre in 1988 with Lair of the White Worm.Steven Goforth rehearses Dracula at Nevada Ballet Theater studio in Summerlin Thursday, Oct. Russell's biographer, in the introduction to the published script, has since accused Francis Ford Coppola of plagiarism for his 90s version of the novel. ![]() But the success of John Badham's adaptation with Frank Langella ultimately killed the project. That it began its existence as a proposed ballet speaks to just how garish and over-the-top Russell intended the film to be. I’ve come up with a reason why Dracula would want to live forever." Apparently, however, much of the origin and debauchery featured in Russell's script was more autobiographical than faithful to the source. "If you lived for centuries," Russell wrote of the potential film, "would you go weak in the knees at a picture of a dull clerk’s fiancée and lock yourself away in a gloomy castle? I wouldn’t. Russell's take on the count was not unlike his portrait of Liszt. So it makes sense that he approached Bram Stoker's classic horror novel, with a cast that would include Oliver Reed in the title role, Peter Ustinov, Mia Farrow, James Coburn, Peter O'Toole and Mick Fleetwood (one of these things is not like the other).
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