Dracula Rises from Graves
Shakespeare’s cool and all, but the cultural legacy of Bram Stoker is incalculable, especially for someone who’s really only known for one book. (He wrote others, but how many can you name?) Sure, he based the character on Count Dracula very loosely on a 15th century historical figure (although there’s some debate about how much he knew or cared about that and how much has been projected onto his work by enthusiastic scholars and fans), but what we think of when we think of Dracula is entirely Stoker’s invention. For that matter, our whole conception of vampires in general is inextricably tied up in Stoker’s imagination, though certainly it was influenced by folk tale and some earlier, lesser known vampire tales of the 1800s, like Carmilla and Varney the Vampire. It’s a safe bet that if Stoker had never written Dracula, the vampire craze in popular culture over the last century-plus would never have happened.
Richard in Thirds
William Shakespeare wrote plays about all the other Richards that served as kings of England, and even wrote trilogies about a couple of Henrys, but Richard the First, called the Lionheart? Forget it. The bard was more interested in the troubled reign of Good King Richard’s little brother, King John (who, full disclosure, is supposedly my 26th-great-grandfather–oh, how the mighty have fallen). Heck, there are even a couple plays about the Lionheart’s father, Henry II, though those came much later (James Goldman’s The Lion in Winter and Jean Anouilh’s Becket). Richard, meanwhile, has been reduced to that guy who comes riding in at the end of many versions of Robin Hood, though he’s in The Lion in Winter too.
Outside the Wall
It turns out that after the end of the world, people are a lot like they are right now. Or at least that’s how it appears in The Nature Line, the last chapter in J.C. Lee’s trilogy This World and After. Sleepwalkers Theatre has devoted its entire season to the world premiere triptych, starting with This World Is Good last August and continuing with Into the Clear Blue Sky in April. Now the company finishes up with this play, in a sharp staging by Mina Morita.
