Dracula

Synopsis

A musical adaptation of the Gothic horror. Returning to Bram Stoker's original story, enter a world of sensual excess, shattered desire and an indefinable terror. When your love is torn from you, when freedom means death, and when your soul is a demon's prey, your only hope lies in those around you, and you must unite to fight the darkest of all foes.

Latest User Review

David Clark - 21 November 2008:

Bram Stoker’s Dracula is a difficult text to adapt successfully, as productions over the years have shown. However, in my opinion, Alex Loveless’s version succeeds much more often than it fails. Taking the bold step of trying to stay true to the novel (rather than vamping on the vampire theme to produce schlock horror), Loveless eschews cheap thrills for a more subtle evocation of horror and its links to both the abject and the erotic. The score economically conveys Dracula’s inner conflict between the lust for vengeance and the longing for love, as ‘I am Great Attila’ shifts to the haunting ‘Lost Love’, and the eeriest moments of the night are found in the vampire women’s songs of seduction (directed at first Jonathan then Lucy). Fans of the musical ballad (of which I am one) will enjoy ‘Every Waking Moment’ and the love duet ‘A Kiss Can Last Forever’, sung first by Dracula and Mina, then later by Jonathan and Mina, accentuating the show’s convincing evocation of the ambiguous attractions of both darkness and light. The venue is small, and the budget limited, but the strength of the score combined with that of the direction and acting means that only the barest hint of imagination is needed to supply the squalor of the lunatic asylum, sweeping plains of Transylvania, and the ancient claustrophobia of Dracula’s castle. The cast works brilliantly as an ensemble, with strong performances throughout. It is good to see Van Helsing portrayed with intelligence and acumen (remembering the blustering film versions); the singing laurels must go to Lucy and Mina; the usually flat character of Jonathan is here imbued with conviction and charm; and (on the night I went) Leigh Jones’s stagecraft and presence is such that, even suffering from laryngitis, he can both horrify and allure as Dracula, mastering difficult songs with deceptive ease and, though not in front of the audience as much here as in other versions, nevertheless remain a constant presence whether on or off stage. ...

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