michele walker

Cal Claxton is determined to reinvent himself as a small-town lawyer in the aftermath of his wife's suicide. Once a hard-charging Los Angeles prosecutor, he now lives in solitude in an old farmhouse overlooking Oregon's wine country. When a scruffy, tattooed kid shows up asking for help in solving a cold case - that of his mother's murder - Cal wants to say no. Times are tough, and he's no private eye, anyway. But the kid, who calls himself Picasso, has ridden a bicycle in the rain all the way from Portland, and something about his determination touches Cal.

When Amos Decker is called to South Florida to investigate a double homicide, the case appears straightforward: A federal judge and her bodyguard have been found dead, the judge’s face sporting a blindfold with two eye holes crudely cut out, a clear sign that she’d made one too many enemies over her years on the bench. What at first seems cut and dry is anything but: Not only did the judge have more enemies than Decker can count—from violent gang members, drug dealers, and smugglers to a resentful ex-husband—but the bodyguard presents additional conundrums that muddy the waters even further.

The modern audience hasn't had a chance to truly appreciate the unknowing dread that readers would have felt when reading Bram Stoker's original 1897 manuscript. Most modern productions employ campiness or sound effects to try to bring back that gothic tension, but we've tried something different. By returning to Stoker's original storytelling structure - a series of letters and journal entries voiced by Jonathan Harker, Dr. Van Helsing, and other characters - with an all-star cast of narrators, we've sought to recapture its originally intended horror and power.