Dracula at Lyric Hammersmith Theatre – review

Bram Stoker’s classic horror, Dracula, has haunted the stage and screen for over a century. Morgan Lloyd Malcolm’s thrilling adaptation at the Lyric Hammersmith breathes new life into the Gothic tale with a feminist twist.

Rather than focusing on the infamous Count Dracula, Lloyd Malcolm places the women’s voices, often sidelined in the original text, at the forefront. Directed by Emma Baggott, the production takes a “play within a play” approach, with Mina Murray (Umi Myers) at its heart.

As the sole survivor of those tragic events, Mina narrates the story from her perspective, recounting how her dearest friend, Lucy (Mei Mac), and her husband, Jonathan (Jack Myers), met their end while trying to make sense of Dracula’s monstrous desires. Along with a group of allies, Mina scrambles to piece together the truth and warn us, framing her account as a cautionary tale passed down to protect future generations. I do believe prior knowledge of the novel may help to grasp this adaptation fully; however, it’s not imperative.

The eerie atmosphere is heightened by the creative design. Joshie Harriette’s blood-red lighting washes over the stage, ominous sounds echo through the theatre, and there are moments of total darkness. The sudden jump-scares and illusion tricks both add some spookiness to the production, while the red-brick castle backdrop feels like we are in a Victorian Gothic world. Though the costumes and set hint at the Victorian era, the use of gramophones and microphones adds to this contemporary take.

Umi Myers is magnetic as Mina, displaying a powerful stage presence as she guides the audience through the horrifying events. Jack Myers captures Jonathan Harker’s bumbling naivety before breaking character to try to seize control of the narrative. Mac shines as Lucy, wide-eyed and delighted with her multiple suitors before descending into tortured vulnerability. Under Chi-San Howard’s movement direction, Mac’s physicality impresses, making Lucy’s suffering a haunting visual.

The cast is completed by Phoebe Naughton, Macy Seelochan and B Terry, who play a variety of roles, from Professor Van Helsing to Renfield. At times, the shifts in tone towards comedy feel misplaced and undercut the horror. Still, the cast delivers strong, dynamic performances.

What makes Lloyd Macom’s adaptation unique is its exploration of gender. When Jonathan casually labels the women as “frantic” and “confused,” the female characters twitch and recoil, visibly bearing the weight of those dismissals. Mina’s love for Lucy becomes a central part of the plot. She is grieving, but determined to rewrite the fate of women who have been bound by patriarchy. Themes of desire, fear, and consent are woven throughout, encouraging us to reconsider this story and how women’s voices have often been suppressed in history.

This reimagining of Dracula is haunting and unique, delivering horror while allowing for moments of reflection.