'DRACULA' Travels Oceans Of Time To The Hartford Stage
Oct 7, 2026 · 13 min · 8 segments
- Speakers
Vinnie PennHost
Lucas DixonGuestCaitlin ClothierGuest
- Show signals
- SuitabilitySafeBiasLeans rightAudience≈11k followers
Oct 7, 2026 · 13 min · 8 segments
Vinnie PennHostLucas DixonGuestCaitlin ClothierGuest
The reason I even bring up Hartford Stage outside of it, you know, it's just a premier venue.
We get great shows there, but it's kind of in the round, you know, and I wonder if it...
Music's one thing, but when you're delivering a very intense monologue and there's all this stuff going on, and you're in the center, there are people being...
I will be honest with you when I, in my training, the theater that not, not, not at Yale when, and, um, my, my undergrad school, but some, a lot of the shows that I did when I was in my, uh, training days were happened to be in a three quarter thrust.
And, um, Yes, it takes some adjusting to, but it is ultimately such a satisfying way to perform because especially in something like this where, you know, you're really getting the immersion of the horror and the thrills and you're there, the audience feels as much a part of it as you are.
I think the best way to, yeah, because it still provides the sort of, and in a way that fully in the round experience can, can, I don't know, you can sort of lose the fourth wall in a way.
The interesting thing, too, when you think about a three-quarter thrust or how – the theater speak –
that's going to eat into the stage, right? The logical conclusion is, oh, wow, you're going to have this tiny space to work in.
But I saw All My Sons there, the Arthur Miller classic, just a little over a year ago, and the set was...
I don't know how they manage to make such monolithic sets when it's a three-quarter, you know, the audience eats up so much of the room.
The reason I even bring up Hartford Stage outside of it, you know, it's just a premier venue.
We get great shows there, but it's kind of in the round, you know, and I wonder if it...
Music's one thing, but when you're delivering a very intense monologue and there's all this stuff going on, and you're in the center, there are people being...
I will be honest with you when I, in my training, the theater that not, not, not at Yale when, and, um, my, my undergrad school, but some, a lot of the shows that I did when I was in my, uh, training days were happened to be in a three quarter thrust.
And, um, Yes, it takes some adjusting to, but it is ultimately such a satisfying way to perform because especially in something like this where, you know, you're really getting the immersion of the horror and the thrills and you're there, the audience feels as much a part of it as you are.
I think the best way to, yeah, because it still provides the sort of, and in a way that fully in the round experience can, can, I don't know, you can sort of lose the fourth wall in a way.
The interesting thing, too, when you think about a three-quarter thrust or how – the theater speak –
that's going to eat into the stage, right? The logical conclusion is, oh, wow, you're going to have this tiny space to work in.
But I saw All My Sons there, the Arthur Miller classic, just a little over a year ago, and the set was...
I don't know how they manage to make such monolithic sets when it's a three-quarter, you know, the audience eats up so much of the room.
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