from Robert B. Byrnes of the Los Angeles Times. Other musical adaptions would follow such as Dracula, A Musical Nightmare (1978) starring Joe Spano. Musical adaptations continued into the 1982 with Jack Sharkey's Dracula, The Musical? in 1982 which was written under the pen name of Rick Abbot. Possessed, The Dracula Musical was produced off-broadway with a production of $1 million. The story is re-imainged into a modern-day asylum. It received a negative review by Alvin Klein of The New York Times, who suggested that "Perhaps there are no bad ideas for musicals, only bad musicals, like this one." The United Kingdom had Dracula, Another Bloody Musical which opened at the Westminster Theatre in London. In 1998 Halifax's Neptune Theatre debuted Dracula: A Chamber Musical which ran for which ran for six months at Canada's Stratford Festival in 1999. This version was not a parody or based on the Deane-Balderston play, but more of an iteration of the original novel. In 2001, Dracula, the Musical premiered at the La Jolla Playhouse where it was staged by Des McAnuff. McAnuff stated believed that "there's been a tendency to parody [Dracula] or to not trust it. We all felt that if we really tapped into what made the book powerful, that really would translate on stage." The musical received poor reviews from the Los Angeles Times, The San Diego Union-Tribune. Joop van den Ende saw a workshop of Dracula, the Musical and opened it on Broadway in 2004 adding new songs and different staging. This version was also not received well by critics. The show closed after 154 performances, but proved to be a hit in Europe. Opera Prior to Stoker's novel, there were operas based on vampire fiction such as Heinrich Marschner's Der Vampyr composed in 1828 based on John Polidori's short work "The Vampyre" (1819). The later half of the 20th Century had Count Dracula had composers attempting vampire themed operas with Count Dracula, such as Sue-Ellen Case "non-opera" Johnny Appleseed/Dracula - The Universe in Infancy performed in April 1970 in Los Angeles. John Deak of the New York Philharmonic presented two scenes of his Lucy and the Count for string quinteted at Cooper Union in February 1983. A review in The New York Times declared the presentation as "amusing and a little more - intentionally absurd" Composer Robert Moran was commissioned to create The Dracula Diary in 1994 which