Blackeyed Theatre comes to the end of its tour of Bram Stoker’s Dracula, celebrating the centenary of its first stage adaptation.
This production, adapted by director Nick Lane, stays close to the original novel with a few minor updates. Gone are the long, bloody fangs, capes, formal dress and erotic energy of the Hollywood or Christopher Lee versions. In this adaptation, Lane introduces 21st century audiences to blood infections, imperialism, mental health and the more sympathetic desire of each creature to continue its own bloodline.
Keeping to a tight cast of six forces the ensemble to adopt multiple roles. In this production, of particular note is the transfer between cast members of the role of the main character. Firstly, in his castle in Transylvania, Dracula is played by the older of the actors, David Chafer (also playing Val Helsing). As the Count becomes invigorated with new blood, he becomes increasingly younger as the story develops and the role is transferred to Richard Keightley (also playing Doctor Seward), and finally to the younger Harry Rundle (also Arthur Holmwood).
Pelé Kelland-Beau (Jonathan Harker, Quincy Morris), Marie Osman (Lucy Westenra, Renfield) and Maya-Nika Bewley (Mina Harker, Doctor Hennessey) complete the cast. Credit to the cast and director for the smooth transition back and forth between characters with only time for minor costume changes causing no confusion to the audience.
What does slightly disrupt the flow of the evening is the rather episodic nature of the production. Staying closer to the original novel’s format of using letters, diary entries and newspapers to impose the narrative means that on stage, this approach leans rather to much towards exposition, which becomes a little repetitive and makes the whole feel a little overstretched. By the time the vampire finally makes his appearance, some of the tension and suspense has been dissipated.
A stripped-back set of wooden stairs, crossing struts and thin beams, designed by Victoria Spearing, suggestive of a neglected attic works well as the Count’s castle, Fairfax Asylum, the London dwellings and, with a huge billowing sail in the background, even the deck of the ship that brought Dracula to Whitby. Lighting from Oliver Welsh projects the shadow of the vampire crawling across the outside of the castle walls to great effect. Soundscaping from Tristan Parkes generates a sinister atmosphere, much enhanced by the hissing or humming echoing from the cast.
Blackeye Theatre gives a new twist to a great classic. Perhaps a little long and losing a bit of suspense along the way, but it’s a great story, well told.