2024 marks the centenary of the first-ever stage production of Bram Stoker’s celebrated Gothic vampire tale, and the event is celebrated by Blackeyed Theatre who bring a highly faithful version of the original novel to the Theatre Royal in Bath this week.
The cast of Dracula presented by Blackeyed Theatre | Photo © Karl Andre
Gone are the Hollywood trappings of a sensual fangs-flashing Count in a swirling cloak or a raving Professor Van Helsing chewing the scenery; here we have the story very much as Stoker wrote it, with the curious exception of making the rat-chewing asylum inmate Renfield a female character, who has been incarcerated by her husband; whilst this was unfortunately an accepted practice in British society at the time, it’s a surprising twist in what is otherwise an almost literal presentation of the novel.
Blackeyed Theatre visited Bath earlier this year with their production of Sherlock Holmes – The Valley of Fear, which was notable for the multi-roling of its entire cast, its single set of a skeletal framework of walls, and a loquacious script extending to 2½ hours; this formula is very much repeated here, although the narrative this time is more compelling.
Consequently your enjoyment will largely depend on how easily you can look past the mechanics of their approach in order to lose yourself in the story.
This extends to techniques such as having Dracula himself being played by three different actors at different points; the multi-level set walls being a bare framework so that the costume rail (and the actors changing at it) are clearly visible; the unexplained use of other actors narrating and speaking for a character who is onstage (in the opening act we appear to have various Jonathan Harkers saying what they are all doing at the same time while the actual Harker is right there); and some jarring role-changing, such as the moment when the first Dracula leaves after issuing an ominous warning in his castle, to immediately re-enter as a wine waiter in England.
This Brechtian approach will delight some, but will leave others confused and consequently disengaged.
The cast of six is fully committed and they clearly enjoy the challenge of playing different characters.
David Chafer moves easily from his imperious, controlling Dracula No 1 to an impassioned and credible Van Helsing, and Marie Osman shows great range and presence as the swiftly deteriorating Lucy Westenra, before transforming into the pitiful Renfield; meanwhile Harry Rundle is perhaps given the greatest scope by playing the terrified captain of the Demeter and the increasingly broken fiancé Arthur Holmwood, before relishing his bite of the cherry as the final Dracula.
The production is helped considerably by Tristan Parkes’ music and sound design, creating an ominous, near-constant soundscape of droning, howling wolves and bat screeches, whilst Oliver Welsh’s lighting design throws up some memorable effects, including a nod to Murnau’s Nosferatu as the shadow of the Count’s claw-like hand looms large over the set.
Director / writer Nick Lane keeps the dialogue pace moving and the mood sombre, although (as with his previous Valley of Fear) he is indulgent with a verbose script with few pauses for visuals against a largely unchanging set, demanding great concentration from the audience over 150 minutes.
Nevertheless, although those only familiar with the more action-based film versions may feel somewhat short-changed, fans of the original novel may be delighted by this highly literate presentation. Dracula still has bite.
Dracula is showing at Theatre Royal Bath until 12th October. Box office: 01225 448844.
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Reviewer: Steve Huggins
