JUVENILE · FICTION
Ian Thorne
Also known as: Julian Clare May, Bob Cunningham
Ian Thorne is a pseudonym of Julian "Judy" Chain May Dikty. Julian Clare May is an American science fiction, fantasy, horror, science and children's writer who also uses several literary pseudonyms, best known for her Saga of Pliocene Exile (Saga of the Exiles in the United Kingdom) and Galactic Milieu Series books. - Wikipedia Her husband was writer T. E. Dikty (1953–1991).
Most acclaimed
Bigfoot!
An investigation, by a primate biologist, into the alleged existence of the Abominable Snowman, or yeti, of the Himalayas and of his "cousin" the Sasquatch, or Bigfoot, of the Pacific Northwest.
Mad scientists
Presents synopses of several well-known horror films whose plots revolve around the experiments of diabolical scientists, including Dr. Jekyll and Mr. Hyde and The Invisible Man.
Dracula
1986
Our dramatization of this myth of ancient horror is not for children. We do not minimize the genuine horror and sexuality of the story. It is not camp; it is not played for laughs, though it does have important scenes of comic relief; we take the myth of the vampire seriously. It is not a marathon; we follow where Bram Stoker leads, carefully condensing and pruning his expansive novel into a tightly structured theatrical experience of normal length. We dissected the events and chronology of his story down to the minutest detail, and we found that his work is seamless; grant him only the premise that there can be such a being as a vampire, and all else follows with flawless probability and necessity. In the end, the audience should feel that they have been with our characters on a tremendous journey, a quest with life and death at stake, not just for their lives, but for their souls as well. The end of the play--the final victory over the vampire--is a transcendent victory over evil incarnate. This play is a play--not a dramatization with narration and dialogue. It is a fully realized play for the stage, conveying story through action and dialogue. We do go so far as to use Stoker's convention in which written messages convey important events and information, but we always present such messages in the mouths and by the actions of the characters who write and send them. Last but not least, we embrace the emotional richness of the 19th century language and characterization. In many cases, we draw our dialogue directly from Stoker.