Dracula

I have always believed that Dracula is a classic tale of horror that should not be altered in any way; it is perfect. That is until I saw Shake and Stir’s production of Dracula.

Shake and Stir have crafted a careful adaption that is slick and owes much of its impact to the Grand Guignol tradition, made famous in Paris in the 19^th and 20^th centuries for its realistic depiction of graphic murders.

For those unfamiliar with the story, Jonathan Harker, a young lawyer, is sent to Transylvania to sell Carfax Abbey to Count Dracula. Although congenial at first, Dracula soon makes it clear that Harker will not be leaving, thus keeping him prisoner.

Meanwhile Harker’s fiancé Mina and her friends Lucy and Doctor Jack Seward soon begin to worry about him.

Dracula travels to England and makes Lucy one of his undead by biting her in the neck and draining her blood. He also bites Mina in the neck, which causes Jack to seek help from Van Helsing, a vampire expert. Together they all begin a quest to kill the dreaded Dracula and thus save Mina.

There is of course a lot more in the original novel by Bram Stoker, the subject of many film adaptions including the original starring Bela Lugosi and a more recent version starring Gary Oldman, which is more faithful to the book.

Shake and Stir have adapted the complex novel for a cast of six performers (who play multiple characters beyond their main roles, shrouded in hoods or wigs).

Every performance in this version is memorable. Michael Wahr’s Jonathan Harker is idealistic, romantic and determined all at the same time. His transition from a frightened soul to a heroic fiancé at the end is well handled and we feel his vulnerability and humanity.

Nick Skubij’s Dracula is initially straight from the pen of Bram Stoker, gaunt, high cheek boned, lank grey haired and unworldly. He skulks around the stage in a long black coat with a voice and accent (aided by reverb) that makes the hair stand on the back of your neck. A highlight of the play is watching him crawl down a wall head first. His transition to a young Dracula introduces a modern touch which seems oddly appropriate. He is pure evil.

Nelle Lee’s Mina is initially a typical 19^th century woman, mannered and innocent. However, when her fiancé’s life is threatened she becomes strong and focussed. Lee’s characterisation of Mina is well thought out and her voice, when possessed by Dracula, reminded me of Linda Blair in The Exorcist.

Adele Querol’s Lucy is a wonderful counterpart to Mina. She is flighty and more susceptible to Dracula’s wiles. Her scenes in her bed when possessed by an invisible Dracula are unnerving and at times athletic.

Ross Balbuziente’s Doctor Jack Seward, the jilted lover of Lucy, is tortured yet unyielding. His only concern is the welfare of Lucy and then Mina. His control of being lifted by the throat near the end of the play is masterful.

David Whitney’s dual roles of Renfield (Dracula’s contact in England) and Van Helsing (the vampire killer) are a tour de force. His two characters are total opposites in every way. He is able to inject humour into the play without destroying its impact. I heard many people in the audience gasp when his character Renfield ate his pet bird.

As good as the cast are, the real heroes are the set, lighting and sound. The dark gloomy set (designed by Josh McIntosh) with multi levels connected by a circular set of stairs on a revolve that transports us to numerous locations is extremely well designed and adds flow to the play, as does the evocative lighting and sound which serve to sooth then shock us.

Add to this well researched and executed costumes, special effects (blood spurting everywhere and crucifixes spontaneously combusting) and a realistically choreographed fight scene at the end and you have a thoroughly satisfying night out.

At only 100 minutes Dracula really packs a punch, leaving you breathless and exhausted as you exit the theatre.

Barry Hill

Photographer: Dylan Evans