The Giggling Iguana is back and is now known as 31 Iguanas. It’s a wonderful merger with Outpost 31 as the creative minds behind these two local theatre companies aim to bring more pop culture into the scene. Their first production was Welcome to Croglin at the Victoria Fringe Festival, and now they’re organizing site-specific works, like High Moon: A Werewolf Western!
In the past, Ian Case‘s Halloween-themed productions at Craigdarroch Castle were very well received. He knew how to deliver atmosphere. They helped make productions like The Fall of the House of Usher and Dracula: The Blood is the Life sing. Also, when the weather cooperated, spooky moments like witnessing the narrator emerge from the fog were unforgettable. But his work is not limited to just putting on local productions. He’s also performed, represented and managed other acts. After receiving a job offer at the University of Victoria’s Farquhar Auditorium, he shifted gears.
David Elendune is equally prolific as a writer and producer and is well known on the island and off. His works are often a part of the Victoria Fringe Festival and most of his plays are available to license online for other groups to perform. Good Night Uncle Joe is a play that, he says that refuses to die. He said, “It pops up often. Even my take on Winnie the Pooh was produced and staged in the States.”
When I met up with the two, I asked how they first made contact and decide to collaberate?
DE: Janet Munsil is to blame. Years ago, I took a playwriting course when Ian ran Intrepid Theatre. I wrote a Sherlock Holmes pastiche called Bucket Full of Bees, which eventually became Sherlock Holmes and the Curse of Moriarty. Janet suggested Ian read it, and we had to meet.
What was the first show you worked on together?
DE: The first time we really worked together was on Casino Royale. We had a month to stage it. Ian initially barricaded himself, but we eventually pulled it off—keeping the foley and narrator. Bond is all about action, and we had a dynamic cast that allowed for creative staging.
IC: At first, we collaborated occasionally but mostly focused on our own projects. Usually, we decide who’s in charge for each production; the other one can stomp their feet. But at the end of the day, whoever’s in charge calls the shots.
When did you decide to merge your companies?
IC: After I “retired” from UVic, it just made sense to combine forces. Bigger projects—like our upcoming show High Moon, a werewolf western at Heritage Acres in Saanichton—are easier to handle together.
DE: We complement each other: I handle writing and publicity; Ian takes care of contracts. Social media and personal connections help, too—my old email list is back up to 500 people, and ticket sales are already coming in. Victoria’s audience is arts-engaged, and Halloween shows appeal to families looking for unique experiences.
How did the idea for High Moon come about?
DE: High Moon started over coffee shop conversations. We wanted a werewolf western—something no one had staged before.
IC: The concept began with two brothers: one sees the curse as a gift, the other as a burden. Setting it during the Civil War added depth. Once we mapped the story beats, the first draft came together in a month, then we refined it with actors and workshops.
Would you say are the central themes?
DE: Horror often centres on the hero resisting transformation into a monster—that’s the tragedy. We’re also exploring deeper themes: war’s psychological toll, ideological politics, and freedom. Subtle references to abolition tie freedom to responsibility.
IC: Yes, it’s overarching. Most of our work doesn’t tie up neatly; we raise questions while offering answers. You can tell who’s on the right side of history, but we also humanize the “bad” brother. Dave added elements that give him depth—real loss, real motivation—so he’s not a cartoon villain.
Can you share a little about the story ahead of time?
DE: It’s set just after the Civil War. One brother fought; the other didn’t because of a vision impairment. The returning soldier is traumatized, finds life worse than expected, and encounters the werewolf curse. For him, it’s a “golden ticket,” a way to set things right—though morally questionable. The play explores family loyalty versus doing what’s right, while also letting audiences enjoy horror, explore subconscious fears, and have fun.
Was casting difficult in a tight-knit community?
IC: We didn’t hold auditions. I suggested people I knew. I’d seen Wendy a lot—she’s a bit of Dave’s muse—and I spotted Ryan at Shakespeare last year playing Benedick. I thought, “Oh my God, this guy’s good.” I’d worked with him a few times before and nudged him again. He said yes. Rod Peter Jr. plays Le Chiffre. We’ve worked together since 2016. Rod’s done plenty at the Castle, knows this style well, and has become a bit of a fringe god.
DE: Wendy and I had worked together on Shadow, along with Rosemary, who’s always consistent. The rest of the cast includes Rosemary Jeffery and Ryan Kniel. We’ll expand in future productions.
Are there particular techniques or effects you’re excited about?
IC: Each scene has a bit of “magic”—moments that make people wonder, “How did they do that?” We focus on anticipation over spectacle. Transformations are gradual, immersive, and subtle, inspired by An American Werewolf in London and Ionesco’s Rhinoceros.
Beyond horror and fun, what other themes exist?
DE: Horror is often about resisting becoming a monster. We weave in war’s psychological effects, politics, freedom, and morality. Even the antagonist is humanized, with motivations audiences can understand.
IC: At its heart, the play asks: do you stay loyal to family or do what’s right?
DE: That tension runs through Greek mythology, Star Wars, The Fall of the House of Usher, and Frankenstein. Horror often strikes closest to home. But above all, we want people entertained. Fun comes first, themes second. If compelling art happens along the way, all the better.
What’s the future going to be like for the new company?
DE: We plan to keep going for 10 years. Hopefully, High Moon runs for a couple of seasons, then we’ll tackle something new. Maybe we’ll produce outside Halloween too—family shows, children’s events, solo work. I even wrote a book this year. The shows are varied, never the same. Also, I believe there’s not enough sci-fi on stage. Ray Bradbury inspired me, and younger artists are exploring sci-fi theatre. We might set something on a space station, reimagining Poe’s Hop-Frog.
In closing, are there any tag-lines you think are appropriate to get folks to attend?
IC: If this show were a 50s B-movie poster, the tagline would be: High Moon: a werewolf western. Be careful. Things could get hairy.
To buy advance tickets for 31 Iguana’s High Moon, please visit https://31-iguanas.tickit.ca/
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