ATLRetro

by Anthony Taylor
Contributing Writer

Welcome to Apes on Film! This column exists to scratch your retro-film-in-high-definition itch. We’ll be reviewing new releases of vintage cinema and television on disc of all genres, finding gems and letting you know the skinny on what to avoid. Here at Apes on Film, our aim is to uncover the best in retro film. As we dig for artifacts, we’ll do our best not to bury our reputation. What will we find out here? Our destiny.

Apes on Film also appears on Nerd Alert News. Check them out HERE!

RAY BRADBURY’S SOMETHING WICKED THIS WAY COMES – 1983
3 out of 5 Bananas
Starring: Jason Robards, Jonathan Pryce, Diane Ladd , Pam Grier
Director: Jack Clayton 
Rated: PG
Studio: Disney/Buena Vista
Region: Free
BRD Release Date: September 7, 2021
Audio Formats: English: DTS-HD Master Audio 5.1 (48kHz, 24-bit)
Video Codec: MPEG-4 AVC
Resolution: 1080p HD
Aspect Ratio: 1.85:1
Run Time: 95 minutes
CLICK HERE TO ORDER

Ray Bradbury is arguably the greatest American writer of all time. He wrote a short story and/or worked on a novel every day of his adult life, leaving a rich legacy of unforgettable narratives that have been adapted, adopted, re-interpreted, and spread throughout the ground water of worldwide culture for more than seventy years. Though Bradbury’s semi-autobiographical memoir is Dandelion Wine, the novel Something Wicked This Way Comes conveys the true essence of the man – his experiences, his beliefs, his philosophies – like no other of his works. It has been strip-mined by no less than the likes of Stephen King repeatedly to good effect in books like Salem’s Lot, Needful Things, and Doctor Sleep, and its influence has never been diminished.

The 1983 film adaptation of the novel by Disney has many positive facets. The casting of Jason Robards and Jonathon Pryce was inspired, the screenplay by Bradbury himself is a wonderful adaptation without being pedantic in honoring the source material, and many of the supporting performances are fine. Ultimately, it fails as good film due to limitations of technology and lack of vision on the part of the studio in post-production, as well as a lackluster job by director Jack Clayton.

Clayton, the director of 1961’s THE INNOCENTS, certainly seemed a good candidate for the job. One would surmise then that he would be a good choice to helm a film based on a beloved classic book about two boys who beat back the coming of a weird, malevolent carnival and its proprietors, saving their hometown and righting the wrongs done by black magic. But he wasn’t. Yes, there are wonderful sequences within the movie – the library showdown between Pryce’s Mr. Dark and Robards’ Charlie Halloway is brilliant – but the bulk of the film falls flat on multiple levels.

Performances by young leads Vidal Peterson  and Shawn Carson are inconsistent. The whole story hinges on viewers believing that the pair are blood brothers in dire circumstances – afraid, but heroes at their core; neither delivers this, unfortunately. Besides Robards and Pryce, other standouts are Pam Grier as the Dust Witch, Royal Dano as Tom Fury, and Bruce M. Fischer  as Mr. Coogar. Angelo Rossitto  has a good moment or two as a demonic barker at the carnival.

Disney’s culpability comes in what I can only assume was a surfeit of oversight. The studio spent a year re-shooting, editing, and generally misunderstanding how to complete the movie. In an era where independent shops like Boss Films or Stan Winston Studios were creating excellent visual effects on reasonable budgets, Disney opted to keep optical effects in-house, resulting in a lot of shaky, underexposed traveling mattes, THAT DARN CAT!–level animation overlays, and a lot of film grain bloom from poorly executed optical film printer composite shots. The most egregious wrong done to this film is that the color timing is all over the pace. The lack of a consistent color palette for such a metaphorically rich film is a crime, and it’s hard to figure out where to point the finger of blame – director or producers? The movie comes across as way too much Disney, not enough Bradbury. What it needs is a remake by Guillermo Del Toro, frankly.

Disney Movie Club’s Blu-ray presentation is a bare bones release, and exclusive to members only. No extras of any kind are included, which seems like a missed opportunity. The picture is dusty and spotty, with scratches and pops throughout, most noticeably in the opening scenes. The enhanced definition here also serves to reveal that the film was clearly shot on the backlot and in Burbank sound stages, resulting in an unenhanced visual environment for home viewing. DMC even bumped the original aspect ratio of 1.75.1 up to 1.85.1 – it seems just to thumb their nose at purists. Audio is presented in DTS-HD Master Audio 5.1.

I wish I could recommend this disc, but truly cannot. It’s not worth the hassle of the Disney Movie Club format (reminiscent of the Columbia House Record Club, you have to opt out of a monthly shipment at a premium price) to get such lackluster presentations for home viewing, especially for films with marginal viewing value.

Let’s hope Guillermo is reading and has an AHA! moment.

An expanded version of this review appears in issue 40 of Screem Magazine.

Anthony Taylor is not only the Minister of Science, but also Defender of the Faith. His reviews and articles have appeared in magazines such as Screem, Fangoria, Famous Monsters of Filmland, SFX, Video*WatcHDog, and more.

*Art Credit: Anthony Taylor as Dr. Zaius caricature by Richard Smith

by Melanie Crew
Managing Editor

Michael Stark, former screenwriter for Disney and Universal Pictures and current purveyor of rare horror and sci-fi books (Burnt Biscuit Books) “in the shadows of Pinewood Studios,” and Terrell T. Garrett, screenwriter, reside south of the Atlanta Airport, a.k.a. “Hillbilly Hollywood.” Having written several screenplays together, they decided to take an artistic leap and are currently in the process of producing their first comic, “WOLVERTON: THIEF OF IMPOSSIBLE OBJECTS, along with artist Derek Rodenbeck. Initially slated for the big screen but not quite making it past Hollywood’s current aversion to original works, WOLVERTON was revived as a self-published comic book and labor of love for Stark and Garrett. This action-packed story entangles Jack Wolverton, gentleman thief, within a wicked supernatural web, and “Only he can save the world’s most powerful artifacts from getting into the wrong hands.” While their tale takes place in turn of the century London and Wolverton holds H.G. Wells’ science in high esteem, as opposed to the superstition-riddled occultish general population, “Wolverton isn’t exactly steampunk,” tweeted Stark. “He’s more Schvitz Punk!” The premier issue is finished, however, Stark and Garrett made a decision to add four previously cut pages back in before it goes to the printers, so all you retro-fabulous turn of the century comic-loving kiddies will have more action-packed goodness when it hits the shelves!

Stark and Garrett’s home-grown labor of love is being crowd-funded by a Kickstarter campaign, in part to cover printing costs (28 full-color pages with a 5000 copy run!), but also to put feelers out to gauge interest in their project. They are offering many enticing perks for backers, including digital and hard copies, exclusive signed prints and the chance for a few lucky folks to get drawn and/or written into the action. So come on out and be a part of WOLVERTON history and snatch up an adventurous perk or two via the Kickstarter campaign available through July 6! Check out the full range of rewards here!

ATLRetro caught up with Michael Stark and Terrell T. Garrett to gab a bit about their upcoming comic,  writing for the Hollywood machine; and why going with crowd-funding made sense for this project. While you’re takin’ a gander at our little Q&A, why not take a peek at the teaser trailer and a wee history of WOLVERTON here.

ATLRetro: How did you and your co-writer, Terrell T. Garrett, come up with the idea of “Wolverton?” What inspired the tale and why set the story in turn of the century London?

Michael: I had an old script about a gentleman thief that I pitched to Sean Connery’s company before he did ENTRAPMENT. I wanted to dust it off, but Terrell yawned, finding the trope a bit old-fashioned. So, out of the blue I blurted out: “What if we set it in Edwardian England and he only stole magical objects like the Monkey’s paw?” Suddenly, my writing partner leaned in, very interested, and we knew we had a great idea.

(l-r) Co-Writers Terrell T. Garrett and Michael Stark

Can you tell our readers a little about the creative team behind WOLVERTON?

Michael: I was making a good living writing in Hollywood in the ’90s without actually having anything produced. Those days have changed. The new normal is free options and free rewrites which is why I started looking at trying a different format. Our artist, Derek Rodenbeck, was an army vet whose testimony of overcoming great tragedy with his art really moved us. We think we found a very talented, young man.

Terrell:  I’m currently adapting Alistair MacLean‘s novel, FEAR IS THE KEY, for the big screen. In fact, most of the stuff I’ve written has been in the screenplay format except for a few short stories here and there and a novel that I’m working on at a glacial pace. I’m also a new father.

What is it about the “gentleman thief” trope that inspires you to create a character like Jack Wolverton?

Michael: We were getting known in Hollywood for writing wild set pieces.  I wanted to do something that mixed action with the wit and sophistication of a Preston Sturges or an Ernst Lubitch film. The Gentleman Thief trope fit both worlds perfectly.

We see that you and Garrett worked together on several screenplays, and that you’ve optioned a few to Universal and Disney. Comics and film are similar in that they both rely on dialogue, action and visuals to deliver an awe-inspiring story. As a screenwriter and now a comic book writer, what would you say are the biggest differences between the two, and the challenges of each?

Artist Derek Rodenbeck

Michael: I thought it would be pretty easy to transpose the script into comic book format. I was dead wrong! Especially because modern comic books like modern screenplays have far less text in ‘em than when I was a kid. So, even after we basically locked the book, I’m still calling the letterer and asking if we can fit in a new bit.

Can you tell our readers what drew you to screenwriting, and who would you say are your most inspirational screenwriters/films?

Michael: Thank God for PBS in the 70s.  I saw a Francois Truffaut and Luis Bunuel film festival when I was 10 years old and knew then I wanted to be a screenwriter. Not a director ’cause I looked lousy in jodhpurs. At NYU, I mentored under three Academy winning screenwriters: Ring Lardner JR (MASH, WOMAN OF THE YEAR), Waldo Salt (MIDNIGHT COWBOY, SERPICO) and Ian Hunter, who could tear apart and fix just about anything.

Terrell: I knew I wanted to be a filmmaker when I saw JURASSIC PARK when I was 14 years old. Something about the collective awe in the theater and seeing all the names in the credits made me realize I wanted to be a part of the movie magic. My favorite screenwriters and filmmakers who inspire me are Walter Hill (ALIEN franchise), James Cameron, Jane Goldman (KICK-ASS), Frank Darabont (THE MIST), Dan Gilroy (NIGHTCRAWLER), Joe Carnahan (THE GREY), Bryan Fuller (HANNIBAL TV series), Jon Spaihts (DOCTOR STRANGE, PROMETHEUS) and Diablo Cody (JUNO).

Of course we have to know, as a native Long Islander, what made you fly south, and what is it about Atlanta that’s kept you around for so long?

Michael: That is a very long and surreal story, but basically I was given a month to live a decade ago and went on a spiritual journey that ended up with this nice, Jewish kid from Long Island becoming a minister in a small, rural GA church. That of course would make a good screenplay, but I strictly believe in never writing about your own life. Oh, yeah, I didn’t die BTW.

Most kids (and now adults, as the guilty pleasure no longer carries the negative geek stigma) can’t wait to get their grubby little hands on the coolest of the cool comics. What comics were your favorite growing up and what are your favorites now?

Terrell:  I grew up reading Chris Claremont X-MEN comics and the ’90s issues of THE NEW MUTANTS. PREACHER and Neil Gaiman‘s SANDMAN blew my teenage mind. These days, I’m enjoying Alan Moore‘s PROVIDENCE, Brian K. Vaughan‘s SAGA and Matt Fraction‘s ODY-C.

Michael:  Team Marvel and mind warping EC reprints. Now anything by Alan Moore.

WOLVERTON began as an original screenplay and was then regenerated into a comic book. Can you tell us a little about that process and whether seeing it drawn on the page in color helps visualize how it will look on the big screen?

Michael: The screenplay was a director’s wet dream with action scenes that were beyond hyper kinetic. Derek did a great job capturing that energy on the page. Even Wolverton’s hair is constantly in motion.

Any plans to take the tale back to Hollywood after its success as a comic book?

Michael: Well, there was just a huge bidding war over a friend’s graphic novel, so, yes! Hollywood is more interested in acquiring existing material than original screenplays. Maybe they’ll come to us this time if the comic book is successful.

Why a Kickstarter campaign for WOLVERTON? What are the advantages of taking the crowd-sourcing route?

Terrell: We chose Kickstarter because it just felt logical. A lot of creatives have used the crowd-sourcing platform and have found success, especially in the realm of comics. We figured it was worth a shot. Not only to hopefully cover the cost of printing, but to see if people would be interested in our little story.

You’ve put together some great bonuses for investors, ranging from digital and hard copies to exclusive signed prints and the chance to get drawn into the action (Exciting!). What can folks looking to invest via Kickstarter expect to get when they back your comic?

Terrell: Backers can, firstly, expect a fun adventure story full of cool visuals, sparking dialogue and great characters.  Secondly, for the backers who dish out a little extra, they can expect to see their likeness or the name of their business in comic book form or own exciting and original artwork. Thirdly, they can know that they invested in a story with little risk, and have contributed to the dream of a brand new father.

Can you give us five things you’re into at the moment that we should be watching, reading or listening to right now— past or present, well-known or obscure?

Terrell:  Nonfiction Book: MIND HUNTER: INSIDE THE FBI’S ELITE SERIAL CRIME UNIT by John E. Douglas. Podcast: LIMETOWN. Podcast: THE BLACK TAPES. Science Fiction Book: RED RISING by Pierce Brown. Novella: “Agents of Dreamland” by Caitlin R. Kiernan.

Michael: I’m cycling through John Ford westerns and Jeeves and Wooster books at the moment. I’m not sure what I’ll spit out after that combo meal. Although, Terrell and I already wrote a script about Buffalo Bill’s Wild West Show in Victorian London.  That may be our next comic book.

Any advice for writers and/or artists out there on putting together and publishing their own comic books?

Terrell:  Treat the artist as your collaborator. Be patient with the process. Never give up.

Michael: Who knew sticking it to the man – the man being Hollywood – would be so damn expensive. Many people I went to film school with are now editors at Marvel and DC. Some even started their own publishing companies. I knew if I asked for their advice, they’d probably talk me out of it and I didn’t want to be talked out of it.

Getting back to why we’re here chatting you up, WOLVERTON, and the comic book’s Kickstarter campaign! Without giving too much away, what can you tell our readers a little about the comic?

Michael:  Here’s how we pitched it to Hollywood. In turn of the century London, Jack Wolverton, gentleman thief, specializes in stealing the arcane, the accursed and the occult. With war about to break out, only he can stop the world’s most powerful artifacts (The Monkey’s Paw, The Hope Diamond and the Portrait of Dorian Gray) from falling into the wrong hands! Think Indiana Jones meets Pirates of the Caribbean.

And last but not least, how many issues are planned and how can our readers snag up their very own copies?

Michael: We are printing up 5,000 copies and you can get a copy before anyone on the planet does by backing us now. If the ship carrying them through the high China Seas isn’t attacked by pirates, expect a summer release.

All photos courtesy of Michael Stark and Terrell T. Garrett and used with permission.

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

Forget a red heart-shaped box this Valentine’s weekend, and go straight for the heart, the bloody heart. The CD of DRACULA: THE ROCK OPERA is finally out (watch for our Retro Review soon), and 7 Stages is throwing live concert to celebrate its release with three shows, February 14 and 15. [Ed. note: 8 p.m. on Fri and Sat. The Thurs. Feb. 13 show was canceled due to weather, and a new show has been added at 10:30 pm Sat]

It’s been a year and a half since the curtain last went down on DRACULA. As ATLRetro said in our Review, “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.” That review marks the only time a full cast and crew have earned Kool Kats of the Week, and we added that the production not only broke the bounds of community theater expectations but blew them out of the water. We felt like we were “discovering HEDWIG AND THE ANGRY ITCH off-Broadway in 1998 or THE ROCKY HORROR SHOW in a tiny upstairs theater in London in 1973.” We wish everyone who missed it could see the full production, but hopefully the music being available on CD will help convince skeptics that something this crazy original can happen outside the Big Apple. All the main creators/cast members of the Little Five Points Rock Star Orchestra will be back, including Rob Thompson, the mad mastermind behind the sinister shebang; Naomi Lavender (Muleskinner MacQueen Trio), Mina with a voice to make Kate Bush blush; Rick Atkinson, America’s hardest rocking Renfield; and more.

Since then, Heidi Howard has assumed the helm as creative director of Seven Stages. She’s a mighty Kool Kat for taking on one of Atlanta’s most innovative and daring theater companies, following in the footsteps of founders Del Hamilton and Faye Allen, who both are local legends here. Here’s what she has to say about the concert and CD, as well as what’s next for DRACULA and 7 Stages!

Heidi S. Howard. Photo courtesy of 7 Stages.

It’s been a year and a half since the curtain dropped on the last performance of DRACULA: THE ROCK OPERA. While the vision started with Rob Thompson, it was also an amazing collaborative effort with Del directing and many of the musical cast contributing to the composition. Can you talk about that aspect of the production and how it relates to the music we’ll be hearing this weekend?

I remember sitting in the basement over four years ago, listening to the first notes composed and encouraging Rob to propose the production to Del. I have often called theatre a collaborative sport; we have to work together in order to make great things. Over the years, the relationship with 7 Stages artists and Little Five Points Orchestra has grown to something really impressive. This process specifically was created to encourage everyone’s ideas to be heard and to merge the music and theatre styles. By including Shane [Morton]’s knowledge of Dracula and encouraging the composer’s possibility of the music style, we were really able to expand the overall sound of the story.  There is such a diverse style of surprising music from true rock in “The Castle” and “Dracula’s Opus,” to jam in “Van Helsing’s Teachings,” even to rockabilly sounds in “Lucy’s Proposals,” that make it accessible to many.

We have chosen to highlight the different styles and favorites in this concert while still saving some of the best to be heard on the CD. Even today I am inspired by hearing everyone’s ideas and implementing the best of them, as well as the group’s way of working through a decision together.  The Drac Pack is a very intense gathering of strong-minded rockers and artists, each with passionate dedication to what we have created together.  7 Stages has the unique environment of engaging the individual and really supporting who we have in the space.  We are a people’s place and make opportunity for those that are here and willing to collaborate and become better. This process is a testament to engaging and supporting those who are present.

While it’s not the complete production, will characters be in costume and what else is the company doing to recreate the horrific ambiance?

We are sticking to a concert presentation style, keeping the production elements as simple as possible while still creating an intimate environment.  While really celebrating the music and engaging the community, we are keeping the work present in the minds and bodies of our audiences. We are creating a lobby installation of the costumes and some of the scenic elements used in the production. Instead of using the video projections there will be images, many from Stungun Photography, who captured beautiful moments of the production. We did not want to create the expectation of a full production and staging elements, because the goal is to celebrate the music itself. Also, it is important to note that not all of the performers were available for this gig, and so Rob and others cover some of the vocal roles.

What’s your personal favorite song in DRACULA and why?

Oh my goodness, I tried hard to pick one to answer this question, but I just can’t. The music is so rich with diverse styles, and I like many different types of music. “Diary and Mysteries is up there because of the simple beauty of Naomi’s voice and the build of everyone’s layered voice in as the song builds. I love, love, love when there are all of the layers of voices and music changes in many of the Act 2 songs. “Alone in Transylvania” really speaks to everyone’s fear of being lonely, and it always brings chills to my body.  “Van Helsing’s Teachings” is so much fun, and Jeff nails it every time. I wake up singing “The Chase”…. And the list continues. It is so good, and I get so overwhelmed each night in rehearsals, I am literally sitting in the theatre rocking out, feeling so lucky and thankful.

7 Stages is one of Atlanta’s most acclaimed theater companies for serious plays. Why do something as seemingly pop-culture as DRACULA: THE ROCK OPERA, or is it pop-culture?

Traditionally DRACULA productions have been poppy, and with our production we really focused on sticking to the Bram Stoker’s book and creating music and a production that answered the desire of these artists.  7 Stages has always had a mission on supporting new work and encouraging artists to expand their craft.  For me, I was really interested in the process of merging the music and theatre scene, creating a space to develop high quality storytelling and offering both the musicians and theatre folk the best of both worlds so that we could learn best practices and become better artists overall.  This production is a fusion of pop and rock culture, and while it is a break from the serious heavy topics, we are creating a seriously great rock opera. 

Heidi S. Howard. Photo courtesy of 7 Stages.

There have been many stage and screen adaptations of DRACULA. Why do you think this one worked so well and was so popular with audiences?
We stuck to the book in composing the lyrics, many of them being directly taken from the text. Many other productions stray away from this and tell “popular” vampire stories because of the trend. There are so many Dracula mythos out there, and we really stuck to Stoker’s mythos as opposed to others such as Anne Rice’s, TWILIGHT or other modern pop culture mythos.  We used the wave of what was popular for marketing purposes but wanted to stick to the original tale.  We wanted to celebrate the strength of the musicians and performers with high quality production values.  Also, it was a direct goal of Rob’s to do “something that doesn’t suck!”  There is a Little Five Points Orchestra following, as well as those that support 7 Stages who have really encouraged our relationship to grow over the years of producing the Krampus shows [and] involving the musicians in our production of HAIR a few years ago.  Ultimately, we are answering the demand of our community.  The show is fun, involving, intimate, and so surprising that all want to be involved.

So many of us wish there would be full-out performances of DRACULA again. Any chance of that or of it going on the road to other cities?

We would love to do the full production again, taking everything to the next level, send it on the road, sell it to other producers, etc… it deserves to be out there.  That is a large reason for producing this concert version, in addition to celebrating the CD release.  But, it takes money.  Lots of money so that we can pay the artists for their time and work, as well as pay for all that it takes to make a production including blood, effects, blood, costumes, scenery, blood, video, blood, etc.  We want to keep the music and possibility present in our community and continue to push it out there.  

Heidi S. Howard gets the Shane Morton treatment. Photo courtesy of 7 Stages.

How are you feeling about 7 Stages now that you have a few years under your belt. How are you feeling about taking the plunge? What do you think is the company’s biggest success under your helm? And what is its biggest challenge?

Absolutely fantastic.  I love my staff, the artists, and all of the amazing people that walk into the space.  I stuck around 7 Stages all these years for the people and am always inspired by the involvement of those people. I am having a lot of fun with our Home Brew series.  We have always supported the development of new work, but by formalizing it into a program and inviting audiences into the process, the support and understanding for the process becomes very clear. The Navigator was a great success as we took our work outside of our space, and at the same time we were the first organization to be allowed to perform on MARTA with Mass Transit Muse [full production to premiere in May].   But honestly, we have stayed open; we are extremely focused on becoming financially stable.  This is both a success and an ongoing challenge.

Next up is THE RED BADGE OF COURAGE. That’s a book that many people read in school. Why should they want to see it performed live through the lens of 7 Stages?

7 Stages’ new adaptation of RED BADGE uses puppetry, live actors, projected animation and a dynamic soundscape to create an immersive world of battle. Our version uses contemporary techniques to achieve the intense atmosphere of war and the spinning viewpoint of our naive young soldier. People who have read the book will find new nuance and perspective on it, while those unfamiliar will leave the theater itching to read!

What else is 7 Stages up to that you’re excited about for the rest of this season and into the next?
As mentioned above, our work is not just focused on the serious. We are sticking to our social, political and spiritual mission. It is my goal to expand the knowledge of what we do. We like to have a great time with our work. While it can be serious, it can also offer Atlanta a really good time. Today the work has a lot to do with reflecting and representing our community and expanding it – internationally and locally. I am gearing up to jump into rehearsals again for Mass Transit Muse, which is another process that will merge mediums, and Jed Drummond will be a feature, which is always a plus! It’s a wonderful experience to work with your friends, who happen to be amazing artists. I’m looking forward to sharing their talents, engaging with our community, and creating art that surprises, engages and inspires Atlanta.

Heidi in front of 7 Stages' spider float at the L5P Halloween Parade. Photo courtesy of 7 Stages.

You do a lot of work with youth through Youth Creates, the Playmaking for Girls program, etc. Can you talk a little bit about those pursuits and why you are so passionate about working with young people.

By listening to the youthful mind, I am allowing voices to be heard.  As a young person, I was continually challenged by not being heard or not knowing how to express myself. As Education Director, I was able to create a place for young people to connect their everyday life to creative process.  While working on professional productions at 7 stages, training under the world-renowned directors and artists that we brought in, I was able to structure the education programming around the needs of our ongoing programming. It has been obvious to me that we can answer each others’ needs by answering the desires and needs of our community by offering the community opportunities of professional development, while offering hands-on experience in the professional field of creating art.

Finally, tell us something about you and what drew you to the theater life that we don’t know.
I worked at Disney while I was in college and loved playing Timon, the meerkat from THE LION KING, because I could flirt with the girls and no one would know.

Is there any question did I not ask about 7 Stages, DRACULA or you that I should have, and what is the answer?

7 Stages doors are always open. Come on in, grab a coffee or drink from Java Lords, hang out in the lobby / gallery, check out the library upstairs, create with us, see all of our shows, give us feedback, pop in and say hi to us in the office. As I said, I do this for the people I get to meet and create with each day.  There are always amazing things happening here that will surprise and inspire.

CDs of Dracula the Rock Opera are at Java Lords now and will be available at the show. For advance tickets, visit www.7stages.org.

Millicent Patrick poses with the head she designed of THE CREATURE FROM THE BLACK LAGOON. Photo credit: Universal Pictures, 1954.

Silver Scream Spookshow Presents THE CREATURE FROM THE BLACK LAGOON in 3D (1954); Dir: Jack Arnold; Starring Richard Carlson, Julie Adams, Richard Denning and Ricou Browning; Sat. June 30;  kids matinee at 1 PM (kids under 12 free & adults $7) and adult show at 10 PM(all tickets $12); All proceeds of today’s shows benefit Atlanta’s oldest running independent cinema, the nonprofit Plaza Theatre; Trailer here.

Silver Scream Spookshow Presents FRANKENSTEIN (Universal, 1931); Dir. James Whale; Starring Boris Karloff, Colin Clive, Mae Clarke; Plaza Theatre, Jan. 29., 2010, 1 p.m. kids matinee & 10 p.m. adult show

You know him as the “Retch,” lovable, laughable sidekick to Professor Morte at the Silver Scream Spookshow. Or if you don’t, you’ve missed out on one of the most creative collaborations in Atlanta—an ATLRetro five-star must-see.

Like the Frankenstein monster who will haunt the Plaza’s big screen this week, Shane Morton raised the old-time live and TV spookshow from the dead, putting Atlanta on the map as having one of the nation’s most active classic horror scenes (watch for a feature on Plaza twisted sister Splatter Cinema in the next few weeks). Before the movie, audiences are tricked and treated to a manic one-of-a-kind variety show featuring magic tricks, fun-filled frights and song & dance inspired also by the zany spirit of the PEE-WEE HERMAN SHOW. But Shane couldn’t have done it without unearthing a terrifying, titillating and talented team of cast-members such as Nick Morgan (Mumbobo the witch doctor, the conspiring Dr. Wertham), Amy Dumas (Pandora the spooksmodel), Gayle Thrower Rej (Persephone, spooksmodel in training), Nick Hood (rock ‘n’ rollin’ Frankenstein “all the way from Horrorwood, Karloffornia!”), the gorgeous guys and ghouls of Blast-Off Burlesque, and Waterhouse.

ATLRetro caught up with Jon recently and asked him what it’s like to costar in one of the city’s coolest creations, as well as what the multi-talented, self-described “ADD personified” writer/actor/musician/DJ/rasslin’ manager is up to with regard to his numerous other projects.

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