When Dracula Did Jersey…

I was contacted last week by Lisa Rose, a feature writer for the Star-Ledger newspaper in New Jersey. She was working on a feature about Bela Lugosi’s summer stock New Jersey tour stops in the late 1940s and early 1950s. Her article, reproduced in full below, featuring quotes from Frank Dello Stritto, Bela Lugosi Jr., and Arthur Lennig, was published in The Star-Ledger on Friday, October 14, 2011. You can view the original article at: http://www.nj.com/entertainment/index.ssf/2011/10/when_dracula_did_jersey.html


The Star-Ledger, October 14, 2011

When Dracula Did Jersey…

By Lisa Rose


Bela Lugosi, who won fame in “Dracula” (1931), performed in New Jersey, with shows in Trenton (above) and Newark (below).

Eyeing necks and stretching syllables, Bela Lugosi established himself as a Hollywood horror giant in 1931 with “Dracula.”

The Hungarian actor reveled in the dark romance of the role, delivering a portrayal that continues to influence depictions of lonely immortals, from “Twilight” to “True Blood.”

Lugosi’s monster movies are legend, but lesser known are his travels as a live performer. The star lurked around New Jersey stages during his pre-vampire days and toured the local summer stock circuit after fangs went out of fashion post-WWII.

Between Tinseltown and Transylvania, the Garden State is spattered with Lugosi landmarks.

The classically trained actor joined a Hungarian drama troupe in Newark after immigrating to the United States in 1920. His English-language stage debut was in Atlantic City at the now-closed Apollo Theatre. Lugosi led the cast as a conquistador named Fernando during a test run for a 1922 off-Broadway play, “The Red Poppy.”

When the drama moved to a downtown Manhattan theater, the New York Times noted: “Bela Lugosi is a newcomer of quite splendid mien, romantically handsome and young. Hungarian though he is said to be, he looks every inch the Spanish pirate of romance.”

Later in his career, he returned to the Jersey footlights in traveling productions of the black comedy “Arsenic and Old Lace.” On stages in Trenton, Newark and Landing, he vamped in a role that poked fun at his own murderous movie persona. (Boris Karloff created the character on Broadway).

Film historian Frank Dello Stritto says Jersey audiences of the era saw a different side of the actor, a man who knew little of vampires before first embracing the cape on Broadway in October 1927.

“He would bring nuances into roles that movies couldn’t capture,” says Stritto, co-author of “Vampire over London: Bela Lugosi in Britain.” “There was no time to get a great performance out of him in some of the cheaper movies he made. People like me write about his films as great events, but they would be just a week out of his life sometimes.”


Writer and film professor Arthur Lennig saw Lugosi onstage in “Arsenic” and in a revival of “Dracula.”

“I fell in love,” says Lennig, author of “The Immortal Count: The Life and Films of Bela Lugosi.”

Lennig continues, “I’m a heterosexual, but I fell in love. He was aristocratic, aloof, mysterious. He was seemingly more intelligent than other people. He had all those arrogant qualities that are so ingrained in me. He just had that image of a bad guy. If he worked at the local candy store, he would look like he was handing out poisoned chocolates.”

Lugosi’s son, Bela Jr., vividly remembers visiting Lake Hopatcong during an “Arsenic” tour in July 1949. Father and son bonded while boating, sinking paddles into the blue on a perfect summer day.

“It was my first experience canoeing,” says Bela Jr., 73, a lawyer in Los Angeles, who is working on a book with Lugosi scholar Gary D. Rhodes. “I was upsetting my father a bit because I kept rocking the canoe and he thought we were going to tip over.”

The actor’s last Garden State jaunt was considerably less idyllic as his health declined and his marriage fell apart. Film gigs were scarce during the tail end of the Truman years, when aliens and robots eclipsed vampires and zombies on the big screen.

“The industry died in terms of old-time horror films,” says Lennig. “They were making films about giant ants or giant rabbits, atomic bombs. The mad scientist working in his basement, that was gone. It was over. The conventional horror films, even the bad ones, they weren’t making.”

Six years before Lugosi died at age 73, he struggled to win over a new generation of cynics with an ill-fated revue. The “Big Horror & Magic Show” premiered on Dec. 26, 1950, at the RKO Capitol Theatre in Trenton and closed abruptly at the Stanley Theater in Camden on March 15, 1951.

The Gothic spectacle promised chills with 13 vignettes featuring a “carload of scenery.” Advertisements screamed “See vampire maidens and voodoo magic! See the bat man and the monster in death struggle! See a beautiful girl burned alive! See ghosts, goblins and imps of darkness fly through the air!”

Lugosi initially got a hero’s welcome in Trenton. The mayor handed him the key to the city. The actor was a special guest at a Christmas celebration hosted by the Trenton Evening Times, which printed a photo of him in a Santa suit surrounded by paperboys.

For all its promise of eeriness, the “Horror & Magic” presentation was built around a sketch co-starring Lugosi and an actor in a gorilla costume.

“The audience was wise-assed teenagers who wanted to see whether they’d get scared or not,” says Lennig. “A lot of the people who showed up didn’t even know who he was. The teenagers weren’t scared, so they started hooting. Bela wasn’t a quick responder who could play with it. He’d pause until the audience settled down. When the catcalls stopped, he went on with it until there were more catcalls and he’d stop again. It was humiliating.”

Bela Lugosi Jr., son of the actor that created ‘Dracula’ on the silver screen, displays a picture of his famous dad in his Glendale, Calif., office Thursday, Sept. 25, 1997.

New medium

A preview story for the “Horror & Magic Show” included a Lugosi quote. He declared that the introduction of television was creating new challenges for performers who specialized in ghoulish characters.

“When you walk right into a person’s living room through the medium of his television screen, you have to use the subtle approach,” Lugosi said. “The old-fashioned horror actor would evoke nothing but gales of laughter.”

The tour lurched from Trenton to Paterson to Newark before its final night in Camden, where the crowd was particularly hostile. Lugosi never performed on the East Coast again. He left for England, trying to make a comeback at age 68, dusting off his coffin and cape to revive his signature role on the British stage. The goal was for “Dracula” to play the West End in London, but the road show sputtered in provincial venues.

“For a man his age, touring was tough,” says Stritto. “And this was postwar England. The train system was just starting to get back in shape. The trip really drained him. He wasn’t able to work onstage like that again. He went straight back to the West Coast, and that’s where he spent his remaining five years.”

Back in Hollywood, Lugosi got work from an ambitious fan, Ed Wood, who recruited the aging star to play a doctor in the sex-change tale, “Glen or Glenda.” They teamed up again for a no-budget thriller, “Bride of the Monster.” Footage of Lugosi turned up in the sci-fi flop, “Plan 9 from Outer Space,” released three years after he died of a heart attack in 1956.

The making of the misguided films was chronicled in the 1994 biopic “Ed Wood,” starring Johnny Depp as the title character and an Oscar-winning Martin Landau as Lugosi.

Bela Jr. feels his father was inaccurately portrayed in the movie.

“He wasn’t alone,” says Bela. “There were a lot of things in the ‘Ed Wood’ that are not true, and that’s just one of them.”

Lennig says the film inaccurately depicts Lugosi’s sentences with expletives. In real life, the actor did not swear, according to multiple historians.

Still, the picture moved Lennig to tears.

“I wasn’t crying, I was sobbing,” says Lennig. “Bela was very serious about acting, but he had that accent and he was so identifiable as Dracula. To be narrowed down to just being a spooky man is limiting. Somebody said to him, ‘In all of your movies, you’re always dying.’ He said, ‘Well, dying is a living.’ ”


Related articles

Bela Lugosi and Don Marlowe

Bela Lugosi On The Radio

Bela Lugosi: No Traveler Returns (The Lost Years 1945 – 1951): A Forthcoming Book By Bill Kaffenberger And Gary D. Rhodes

Bela Lugosi: No Traveler Returns (The Lost Years 1945 – 1951) is the tentative title for a new book currently being prepared by Bill Kaffenberger and Gary D. Rhodes. Containing a wealth of previously unpublished material, the book promises to be a treasure trove for Lugosi fans. The authors have unearthed details about many previously undocumented stage, radio and personal appearance made by Lugosi between 1945, when his Hollywood career started to fail, and 1951, when he and Lillian boarded the S.S. Mauretania in search of a comeback in a revival tour of Dracula in Britain. 

Gary D. Rhodes, the author of Bela Lugosi – Dreams and Nightmares, Lugosi: His Life in Films, on Stage, and in the Hearts of Horror Lovers and White Zombie: Anatomy of a Horror Film, is already familiar to Lugosi fans, but Bill Kaffenberger is a relatively new name in the field of Lugosi research. I asked Bill to provide some background information on himself and the new book.

Bill Kaffenberger

I was born in Washington DC and raised in Northern Virginia.  I grew up in the era when Shock Theater and horror movie hosts first came to prominence on television in the late 1950s.  After seeing “Scared to Death” on a local TV station, I instantly became a fan of Bela Lugosi specifically and old fashioned “monster pictures” in general. From that start my interest in classic 1930s and 1940s films also developed. 

Bela and Ian Keith in the ill-fated 1945 play No Traveler Returns. Keith was considered by Universal for the role of Dracula in the 1931 film and Abbott & Costello Meet Frankenstein

In the turbulent times of the 1960s, I was more interested in reading “monster magazines” such as Famous Monsters of Filmland than in protest marches.  My best friend was a huge Boris Karloff fan.  Because there was so little detailed information about their film and stage work, other than what little could be gleaned from the monster magazines, the two of us made many a trek to the Washington DC Central Library to do research in their holdings of old Motion Picture Almanacs, Film Daily Yearbooks, and microfilmed publications.  Thus the idea of researching the details of Bela Lugosi’s career started early for me. But sometimes other things get in the way. I went off to college and earned a degree in English Education and at the same time expanded my growing interest in folk and folk-rock music.  To make a living, I was a budget analyst by day and a musician by night, performing in various venues up and down the East Coast during the 1970s and 1980s and releasing several music CDs of original material in recent years.  Still, I retained a keen interest in Lugosi and his films, scooping up as many VHS videos as I could when that format came into vogue and then, naturally, replacing them with DVDs when they became available.

Bela with spook show magician Bill Neff in 1947

Occasionally still doing film research at the Library of Congress, I happened to come across three Universal newsreels that Bela Lugosi appeared in that apparently had never been catalogued in any of the books and magazine articles about Bela.  Around that same time, Gary Rhodes was starting up his World of Bela Lugosi magazine.  I shared my finds with Gary at that time and he invited me to begin writing occasional articles about Lugosi for his magazine.

The Tell-Tale Heart, 1947

Although we have only met face to face once or twice, at one of the monster movie conventions held in the Washington DC area, Gary and I have kept in touch via email and the occasional phone call over the years.  With the advent of the digitization and online availability of archival newspapers and magazines over the past five years or so, I began doing serious Lugosi research again.  When I would find something new, such as the fact that Lugosi appeared in a successful week of “Dracula” in St. Petersburg, Florida in early 1950, I would share that information with Gary in hopes that he could use it in his work. During 2010, due to the quantity and quality of new information about Lugosi’s career that I was finding, I started my first real blog, Bela Lugosi: The Nomad Years and began publishing some of the information I had found.  Still in touch with Gary, he invited me to write a series of magazine articles with him, incorporating some of the new found data about Bela.  That soon morphed into an idea of writing another book about Lugosi.  Thus the project that Gary and I are working on now.


 The Bela Lugosi Company in Miami in 1948

The book is tentatively entitled “Bela Lugosi: No Traveler Returns (The Lost Years 1945 – 1951)”.   We intend the focus to be on the causes and results of Lugosi’s fading film career, his three prominent and noble but failed attempts to return to prominence (two plays and one film), and, as well, a much closer and more detailed look at his summer stock performances, his various nightclub acts and personal appearances and his vaudeville shows than has been done previously.   Between Gary’s research and mine, we have come up with quite a few surprises that we believe will satisfy the Bela Lugosi fans in particular and classic horror film buffs in general.  While I wouldn’t want to give away the punch line as the old saying goes, I will say that we have uncovered multiple previously undocumented performances, interviews, advertisements and related data that will go a long way towards filling in the information gaps that exist regarding Lugosi’s non-Hollywood career.


A 1950 Spook Show

Our plan is to begin the book around the time he was doing NO TRAVELER RETURNS in California and Washington state and end the book at the time Bela and Lillian boarded the ship to go to England to revive the DRACULA play. At present, we are working on the text, plan to secure a publisher before the end of the year, and hope for as early a publication date as possible in 2012.  We will keep everyone up to date as things develop during the coming months.

Bat Head 2


The book has now been published under the title of No Traveller Returns: The Lost Years of Bela Lugosi and is available at: http://www.bearmanormedia.com/


Related Pages

Bela Lugosi On The Radio 

Bela Lugosi On The Stage 

Bela Lugosi On TV