The Horror! The Horror! Our Top Reasons to Spook on Down to the 3rd Annual MONSTERAMA CONVENTION

Posted on: Oct 3rd, 2016 By:

by Melanie Crew10.7
Managing Editor

What are you doing this weekend? We’re monster mashing it up with a helluva killer Kool Kat extravaganza and more at the 3rd Annual MONSTERAMA CONVENTION, creeping and crawling into town this weekend, Oct. 7-9 at the Atlanta Marriott Perimeter Center!

1) THE GOLDEN BRUNCH OF MONSTERAMA! Have an intimate and devilishly delicious brunch with Monsterama special guest and Hammer, Bond, Harryhausen film star Caroline Munro Friday from 10am – 1pm!

2) CTHULUAU! Cthula on down (If you dare!) to the hotel pool on Friday night at 7pm and get lei’d up with mermaids, music and dancing, oh my! Hosted by Mike Gordon and Peter Cutter creators of TIKI ZOMBIE!

3) SILVER SCREAM SPOOK SHOW! Kool Kat Shane Morton, a.k.a. ghost host with the most, Professor Morte and the Silver Scream Spook Show featuring the Go-Go Ghouls and Monsterama guest, Caroline Munro, a.k.a. “Stella Star” will get intergalactic with a live show followed by a screening of Luigi Cozzi’s STARCRASH (1978) on Saturday beginning at 4pm!

14433161_1191990034190405_7596388003487999022_n4) FANGTASTIC FILM!  It’s monster movie madness with screenings of horrorific classics including Mario Bava’s CALTIKI, THE IMMORTAL MONSTER (1959); William Witney’s THE CRIMSON GHOST (1946); E. Elias Merhige’s SHADOW OF THE VAMPIRE (2000); F. W. Murnau’s NOSFERATU (1922) featuring a life soundtrack performed by Valentine Wolfe; Roger Vadim’s BARBARELLA (1968); Robert RodriguezFROM DUSK TILL DAWN (1996), an adults-only screening of Denis Sanders’  INVASION OF THE BEE GIRLS (1973) and so much more! Antonio Margheriti’s CASTLE OF BLOOD (1964) in 16mm and so much more slaying cinema!

5) SPOOKTACULAR GUESTS! Catch some killer guests including James Marshall (TWIN PEAKS – see our Kool Kat feature coming soon!); Zach Galligan (GREMLINS; WAXWORK); Caroline Munro (AT THE NosferatuEARTH’S CORE; STARCRASH); Suzanna Leigh (LUST FOR A VAMPIRE); Trina Parks (DIAMONDS ARE FOREVER; THE BLUES BROTHERS); Kool Kat and monster artist extraordinaire Mark Maddox; horror novelist and filmmaker John Farris (THE FURY); horror history expert and documentarian, Kool Kat Daniel Griffith of Ballyhoo Motion Pictures; Kool Kat Shane Morton, ghost host with the most, a.k.a. Professor Morte; glamour ghoul Kool Kat Madeline Brumby and so much more!

6) TWISTED TELEVISION!  Get terrified T.V.-style  throughout the weekend and catch screenings of Gene Roddenberry’s made-for-TV movie, SPECTRE (1977); THE OUTER LIMITS – “The Sixth Finger”; STAR TREK – “The Man Trap” and “Cat’s Paw”; MAN FROM ATLANTIS – “Crystal Water” and “Sudden Death”; THE WILD, WILD WEST – “The Night of the Iron Fist”; made for TV movie, THE QUESTOR TAPES (1974); and you won’t want to miss a super rare Kolchak Double Feature (THE NIGHT STALKER/THE NIGHT STRANGLER) in 16mm and so much more!

10.8Monsterama7) MONSTER MAKEOVERS!  Get gore-gous with monster make-up galore as part of this year’s Makers Track! SFX man Kyle Yaklin, Kool Kat Shane Morton and Chris Brown share the secrets of the monster trade with their “Raising Cthulhu” event, where they’ll build a Lovecraftian Creature costume and promise a true teaching moment when they pass on their knowledge of the Necronomicon and how to summon the Old Ones! Get spooktacular with a “Gore Gore Girls – Special Effects for Kids” event featuring mom/daughter duo, filmmaker Dayna Nofke (Tiltawhirl Pictures) and ultra spooky Vivi Vivian! And don’t forget to stick around for a creeping cornucopia of frightful faces and monster masks!

8) DEADLY DEALERS! Horror cons are the perfect place to stock up on both classic horror memorabilia, cult

Professor Morte

Professor Morte

classics on DVD and creepy clothing, costumes and accessories. Vendors this year include Creature connoisseur and effects artist, Kyle Yaklin (See our Shop Around feature on Kyle here), Cult TV Man, Eraserhead Press and all the toys, collectibles and monstrous goodies you can get your ghoulish little hands on!

9) MONSTER PROM! Hey all you boils and ghouls, get frightfully funky at this year’s Monster Prom, Saturday at 9pm! Dust off the old rat-infested tux, clear out the cobwebs, shine up your shoes and get ready to do the Monster Mash, and maybe even Time-Warp into the wee hours of the morning, hosted by Professor Morte!

Monsterama main con hours are Fri. Oct. 7 from 4 to 12 a.m.; Sat. Oct. 8 from 9 a.m. to 12 a.m.; and Sun. Oct. 9 from 9 a.m. to 5 p.m. For more info, visit www.monsteramacon.com.

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Step Right Up to CARNIVAL OF SOULS, Just One of a Macabre Menagerie of Movies at the Plaza Theatre’s October FrightFest

Posted on: Oct 16th, 2013 By:

CARNIVAL OF SOULS (1962); Dir. Herk Harvey; Starring Candace Hilligoss and Sidney Berger; Friday, Oct. 18 @ 9:30 p.m.; Saturday, Oct. 19 @ 5:30 p.m. & 7:20 p.m.; Plaza Theatre; Trailer here.

By Aleck Bennett
Contributing Writer

During the Plaza Theatre’s week-long celebration of classic horror, a number of legendary films are being shown, including NOSFERATU, WHITE ZOMBIE, FRANKENSTEIN and THE INVISIBLE MAN. But sandwiched in there is a film that dwelled in relative obscurity for years before home video led to its rediscovery and reappraisal: Herk Harvey’s incredible CARNIVAL OF SOULS.

The film’s plot is deceptively slim. Church organist Mary Henry (Candace Hilligoss) and her two girlfriends are challenged to a drag race over a rickety bridge, and plunge into the river below. While the police drag the river for the remains, Mary emerges with no knowledge of how she survived. Upon leaving the town of Lawrence, Kansas, for Utah, she starts experiencing supernatural events that grow in intensity. She sees haunting visions of a ghoulish, pasty-faced man everywhere she goes. A nearby abandoned carnival pavilion seems to be pulling her toward it. And, eventually, she begins experiencing states where she becomes literally detached from her surroundings—nobody can see or hear her. These all seem to be leading her to an inevitable fate, as she is continually beckoned to take her rightful place among the dead in the Carnival of Souls.

The bones of the story may seem familiar if you’re a fan of old-time radio or THE TWILIGHT ZONE. A similar tale was first told on THE ORSON WELLES SHOW in 1941. “The Hitch-Hiker” took place on a cross-country drive, after the narrator (Ronald, played by Welles) has a car accident following a blow-out. After getting his tire fixed, he sees the same haunting hitchhiker motioning to him at various points on his journey. Nobody he encounters sees the strange man, yet the hitcher continues to appear along his route. At a stop, he calls home only to receive the news that he never survived that accident, and realizes that the hitcher is Death himself, waiting for him to accept his fate and move on. The story was a radio staple for years, and was later adapted by Rod Serling for TWILIGHT ZONE, with Inger Stevens in the lead role of “Nan.”

The story of a person who should have died—who may, in fact, be dead as the story proceeds—is not an original one, and has been seen many times before and since CARNIVAL OF SOULS. From Ambrose Bierce’s 1890 short story “An Encounter at Owl Creek Bridge” to 1990’s JACOB’S LADDER and 2001’s MULHOLLAND DRIVE, and from 1983’s SOLE SURVIVOR to 1999’s THE SIXTH SENSE, the basic story proves to be still-fertile ground.

But few have done it as well as CARNIVAL OF SOULS.

Herk Harvey, an industrial filmmaker based in Lawrence, came up with the film’s premise as he passed the then-closed Saltair Pavilion on his way to Salt Lake City. To set his film apart, he claims to have wanted to achieve “the look of a Bergman, the feel of a Cocteau.” His atmospheric lighting and high-contrast cinematography come about as close to that as one can achieve on a $33,000 budget. The film is one of those rare “dreamlike” movies that earns its name. The looming camera angles and the oppressive feeling of dread that accompanies her strange visions translate Mary’s sense of feeling trapped in some otherworldly web to the screen with incredible effectiveness. CARNIVAL’s organ score also adds to the disorienting effect of the film. The textual reason for its presence is an explicit reference to Mary’s profession, but its unconscious association is with silent film. And the intrusion of something from another time or place (the specter of death, the abandoned pavilion) into our present is one of the main conflicts that defines the atmosphere of the movie.

Lee Strasberg-trained star Candace Hilligoss also deserves strong praise, as she carries the entire weight of this film. She has the task of making the character of Mary Henry—who is extremely distancing and unsympathetic—into a character that we fear for. Hers is not a character that we immediately identify with. Everyone that reaches out to her gets pushed away (some deservedly so), and yet we eventually identify with her growing need to connect. As her supernatural experiences become more and more frequent, she suddenly finds that she needs these people. They’re at least less unnerving than that strange man she keeps seeing.

The movie was relegated to the bottom half of double bills upon release, and while late-night broadcasts inspired a small cult of film buffs to take cues from it, CARNIVAL’s quiet approach to horror kept the film from spreading far outside those numbers. It wasn’t until 1989, with the debut of the film on VHS, that people really began to take notice. New prints were struck and screened at art-houses and film festivals across the country, and Herk Harvey—who had continued to be a successful industrial movie maker and film instructor—was finally able to see his only feature film gain the kind of respect and acclaim that it had long deserved.

Herk Harvey joined the Carnival in 1996.

This is not a movie to be slept on. It’s a small, haunting masterpiece of horror cinema that was almost forgotten. It’s the kind of re-discovery that you wish would happen more often. Feel that pull? It’s the call of the Plaza, drawing you into this CARNIVAL OF SOULS. Care to dance?

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com

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Kool Kat of the Week/Retro Review: Sex, Blood and Rock n Roll: Jesus Christ Superstar meets Grand Guignol in Not-To-Be-Missed Dracula The Rock Opera

Posted on: Oct 12th, 2012 By:

Dracula and his wives in DRACULA THE ROCK OPERA at 7 Stages; L-R: Jessika Cutts, Rob Thompson, Naomi Lavender, Madeline Brumby.

In this Week’s Kool Kat, we break the rules and give it to more than one person – those crazy kids in the Little Five Points Rock Star Orchestra.  Don’t miss DRACULA THE ROCK OPERA before it closes this Sunday, October 14 at 7 Stages. 

DRACULA THE ROCK OPERA melds JESUS CHRIST SUPERSTAR with Grand Guignol in a production that not only rocks hard and delivers a horrific, non-twinkly Nosferatu, but also is surprisingly true to Bram Stoker‘s original novel. Not to be missed, this DRACULA brings the rock opera genre into the 21st century with the energy, musical, acting and staging quality of an off-Broadway find. Seeing it is like discovering HEDWIG AND THE ANGRY ITCH in 1998 or THE ROCKY HORROR SHOW in a tiny upstairs theater in London in 1973. But hey, wait a second, this is Atlanta’s 7 Stages Theatre, not New York, not London, not even LA or Chicago. And it’s not Rob Zombie, but Rob Thompson. How the HELL did that happen?

The short answer is years of hard work by the Little Five Points Rock Star Orchestra, a motley crew of badass tattoo-covered Atlanta musicians, stage professionals and grassroots performance artists whom you haven’t heard of most likely unless you live here. If you don’t live in Atlanta, you probably won’t believe this gang of music misfits, most with ultra-light theater experience, has produced a libretto, lyrics, acting and staging that set DRACULA THE ROCK OPERA tooth and claw above community theater.Maybe you’ll be more convinced when I point out that they did have the benefit of Del Hamilton, a seasoned internationally acclaimed director, to guide them. DRACULA will be the last of 80 shows which he has directed before he steps down as artistic director of 7 Stages, building with Faye Allen, a reputation for this company as one of Atlanta’s most edgy. It’s a testament to Hamilton’s vision that he was willing to take on a venture in the pop culture/horror arena as his swan song (though he will continue to stay active in 7 Stages). Clearly Hamilton drove the cast and production crew to their highest potential, ably assisted by longtime Atlanta actor Justin Wellborn, who returned from Los Angeles to work on DRACULA.

Harker (Chris Love) receives a dire warning from a gypsy woman (Naomi Lavender).

In JESUS CHRIST SUPERSTAR, the son of God is reborn as a rock star, and so likewise is the iconic vampire dark lord of fiction as Rob Thompson emerges on stage, dressed as Vlad the Impaler with a long dark mane, a Gothic red velvet vest so pointy it looks like it could cut you, and tight black leather pants. At first he is bending his fingers and arching his back, creating a shadow image creepily reminiscent of Max Schreck in the iconic silent NOSFERATU (1922). But soon recharged by the promise of a new feeding ground in England, he is re-uniformed in a blood-red cape, red and black boot chaps and a sword. With his petulance, cockiness and powerful voice, Jim Morrison meets Ozzy as Thompson emotes on the power of blood to a heavy beat right out of Black Sabbath.  This Count is no romantic sparkly vampire, but a black metal superstar of evil whose immortality is dependent on the death of humanity.

When ATLRetro reviewed the first act, then titled HAUS VON DRACUL, during a trial run last year, we called that review “Dracula Superstar but Love is the Answer.” That tagline still holds true in that DRACULA THE ROCK OPERA is unique among Dracula dramatizations for having a strong/non-wimpy rendition of Jonathan Harker in the transcendent voice and passionate mannerisms of African-American actor/musician Chris Love. With a lion’s mane of long black hair, Love is already a daring visual choice for a role too often played close-cropped and straight-laced. Now Thompson has caught up with Love, but Love, as Harker, continues to embody the everyman (us by proxy) as he arrives on stages and declares in a moving opening solo that “a good man is a true man”  and later a stranger in a strange land, “all alone away from Mina.” Bram Stoker’s novel is written in the epistolary form with characters expressing their ebbing terror through diary entries and letters, and this rock opera masterfully embraces that format, often taking lines directly from the book and making the audience a confidante. In Love’s hands, Harker’s predicament gets progressively lonelier, reminds us that the vampire is evil and not to be embraced, progressively raising the stakes and easing the first act towards a sense of doom with no hope and escape.

Van Helsing (Jeff Langston, center) and Lucy's three suitors, Quincey (Shane Morton), Seward (Chaz Pofahl) and Arthur (Jed Drummond) make a "vein" attempt to save Lucy's (Jessika Cutts) life with blood transfusions.

Beyond Dracula’s tight leather pants, the “sex” side of rock n roll comes center stage early in Harker’s seduction by Dracula’s three wives, played to a perfect sirenic pitch by Muleskinner MacQueen Trio chanteuse Naomi Lavender (who also plays a gypsy woman and Mina), Madeline Brumby (known in the neo-exploitation movie world for her breakout role in also-Atlanta-produced DEAR GOD! NO!) and Jessika Cutts (who also plays Lucy). Their breasts show through white diaphanous robes, a clear homage to the sexy female vampires of Universal, Hammer and the lesbian vampire B-movie genre, and this production ups their otherworldly quality by adding exotic Eastern European headpieces and dance moves reminiscent of a Kali ritual. The actresses achieve a chemistry in their ethereal voices and interplay that only heightens the erotic tension and also their profound loneliness, trapped in the castle with the Count.

The first act showcases how to effectively use minimalist sets, lighting and an ensemble cast. No coach is needed with just Harker sitting vulnerably on steps while a mad driver thrashes a long whip, a small herd of humans outfitted in haphazard fur pelts furiously keeping pace to a metal beat. Less is more is also well-executed in the similarly soundtracked (the beat always gets heavy when Dracula is at his most bloodthirsty) ship scene conveying the hopelessness of the captain (Rick Atkinson) trying in vain (vein?) to keep his ship afloat in a stormy sea while the Count devours his crew in one of the play’s bloodiest scenes (watch out, front row!).

Van Helsing (Jeff Langston), Vampire Slayer!

DRACULA THE ROCK OPERA has to introduce a lot of new characters rapidly in the second act, and this task is mostly achieved well, including characters who appear in the book but often excluded from screen and stage. In a poppy update of Cole Porter’s “Tom, Dick and Harry” from KISS ME KATE, Lucy (Jessika Cutts) enthusiastically emotes to her best friend Mina (Naomi Lavendar) about her three suitors, earnest, bowler-hat-wearing Arthur (musician Jed Drummond in his stage debut); Dr. Seward (Charlotte, NC-based actor Chaz Pofahl), who runs the asylum (how romantic!); and Quincey, an American cowboy played with appropriate “home-on-the-range” swagger and just the right nod of humor by Atlanta horror Renaissance man-about-town Shane Morton (Professor Morte of the Silver Scream Spookshow, DEAR GOD! NO!, Gargantua, etc.) against type – in other words, more country than rock (Note: because of Shane also being the mastermind of the Atlanta Zombie Apocalypse, Arnie Lowder is now playing this role Thurs-Sat for the last few weeks of the run).

We already have a sense of Mina from Harker’s songs about her. Like in so many Dracula dramatizations, she could be just a romantic foil and vampire victim but fortunately Lavender’s unique voice – Kate Bush meets Janis Joplin, with a twist of Jane Wiedlin?! – and sheer dynamic energy forestall that possibility, ultimately ensuring she will be an equal to the otherwise male vampire-hunting team. Renfield’s crazed obsessiveness with Dracula is portrayed with a manic frenzy and an appropriately metalhead of frizzy curly hair in a breakout performance by Rick Atkinson, who has been with the L5P Rockstar Orchestra since its first production of JESUS CHRIST SUPERSTAR in the mid 2000s.

Meanwhile, Dracula in London is more of an omnipresent villain, now re-energized by a city full of fresh blood into full throttle rock star and re-attired in a black leather jacket (think actual suit jacket – Steve Tyler, not Sid Vicious). Fortunately Thompson and company recognize that he needs a similarly rocked-out foil not a dawdling elderly professor. Not your mama’s Van Helsing, this vampire hunter in purple is Doctor Strange meets Freddie Mercury. Jeff Langston, of hard-rocking Atlanta-based bands Ledfoot Messiah and AM Gold,  is just the hard-edged leader to unite Lucy’s triad of suitors to try and save first her life (no, they don’t succeed despite a steampunky transfusion gizmo) and then Mina’s as the Count makes them his inevitable victims. Ultimately, the intrepid group must travel all the way back to Transylvania to finish the battle, and as for the end, if you’ve read the book, well, you know it. And if you haven’t, you may well be surprised.

Rob Thompson as Count Dracula/Vlad the Impaler.

Ultimately that DRACULA THE ROCK OPERA is bound and determined to be tightly faithful to Stoker’s novel is both its strength and an occasional weakness, however, because occasionally that fealty causes some dramatic challenges. For example, after act one, it seems impossible when Mina receives a letter from Jonathan Harker that he has somehow escaped Castle Dracula. (Maybe a side performance showing Harker escape in pantomime might clarify?). Another scene that felt like it needed a little more work was a city scene in which Harker spies the Count for the first time in London stalking female victims. But these really are only small complaints in what overall is a fantastic production. Let’s hope for an encore soon and more runs well beyond Atlanta.

All photos courtesy of 7 Stages and DRACULA THE ROCK OPERA and used with permission.

 

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