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In 1927, he was retained by Horace Liveright to revise Hamilton Deane 's 1924 stage adaptation of Dracula for its American production. Balderston did some significant work on the adaptation, which was a success when it debuted in October, running for 261 performances and making a star of Bela Lugosi.
- The “warning” at the beginning of the film was added late in the film’s production as pro-active measures towards religious groups getting up in arms about the film’s theme of man taking control of what is believed to be God’s power.
- The “?” in the opening credits for the person playing The Monster is reminiscent of the story’s first stage production, held in 1823.
- Behlmer notes the several variations on the Frankenstein story between Mary Shelley’s original novel and the different versions, both staged and filmed, throughout the 1800s and early 1900s.
- 1823 not only saw the first production of Frankenstein performed for the stage, there were five different versions of the story being put on that year, some of them taking the story into the comedy genre.
Dracula is a stage play written by the Irish actor and playwright Hamilton Deane in 1924, then revised by the American writer John L. Balderston in 1927. It was the first authorized adaptation of Bram Stoker 's 1897 novel Dracula.
Aug 30, 2022 · Balderston's revised version of Deane's play premiered on Broadway in October 1927, and would run for 261 performances. Playing the title character was Hungarian actor, Blaskó Béla Ferenc Dezső, using his stage name of Bela Lugosi.
Mar 3, 2023 · Dracula is a stage play written by the Irish actor and playwright Hamilton Deane in 1924, then revised by the American writer John L. Balderston in 1927. It was the first authorized adaptation of Bram Stoker's 1897 novel Dracula. After touring in England, the original version of the play appeared at.
Balderston’s book illustrates how the final product evolved from succinct notes and the way Borges’s ideas crystalized after considering multiple options and eliminating details that were either superfluous or exposed too much the circumstances that informed a given text.
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Balderston, one of Borges’s foremost scholars, devoted more than ten years to gaining access to the author’s manuscripts and studying them. As Balderston states, Textual Cultures 12.1 (2019): 183–186. DOI: 10.14434/textual.v12i1.27157. 184 | Textual Cultures 12.1 (2019)
