Dracula

I was familiar with the 1992 film adaptation of Bramstoker’s Dracula with Gary Oldman, but not so much the novel, so I was intrigued to see how this iconic tale would be adapted for the stage. The commendable efforts of those in amateur theatre who strive to push boundaries are always impressive, and both directing and writing the script oneself is an ambitious undertaking. Kieron Toner, in both roles, did well in bringing his unique vision to this vampire classic.

From a directorial standpoint, the handling of some characters and scenes leaned heavily on expository dialogue. The opening scene, designed to set the stage for the narrative, stretched over 20 minutes with just two characters delivering the exposition. I wondered if this could have benefitted from a more succinct approach, capturing the audience's attention more swiftly and propelling them into the heart of the story and its ensuing drama.

The set design was effective, with the innovative use of sliding panels at the back centre transforming seamlessly from a gothic Transylvanian window to a standard English window, and later, a full-length door for the vampire attacks. Additionally, the multifunctional wall that cleverly doubled as a bed was a standout feature. The UV lighting played a pivotal role in accentuating the vampire attacks, though it would have been beneficial if the UV lights were turned off during blackouts. This would have prevented the audience from seeing the details of the scene changes, maintaining the illusion and fluidity of the performance.

Turning to the cast, I liked the characterisation by Jon Bolderson of Dracula, the stoop, the drawn out delivery, the pale complexion and the clever use of UV reflective contact lenses all added to the intensity of the role.

The two main ladies, Lucy Westenra (Lucy Peters) and Mina Murray (Lucy Woodcock), shared an excellent chemistry on stage. Their initial scene, reminiscent of a Bridgerton episode, was marked by impeccable articulation and the appropriate use of received pronunciation (RP), enhancing the period authenticity. Their period costumes were equally commendable.

Special mention must go to Martin Hunt for his portrayal of RM Renfield. Whilst a cameo role, Hunt delivered a convincingly deranged servant of Dracula with remarkable authenticity. It is easy to fall into the trap of overacting such eccentric roles, but Hunt's performance struck the perfect balance, contributing significantly to the plot.

This production truly felt like a tale of two halves. The first half successfully followed the plot, and despite some lengthy scene changes, it maintained the audience's engagement. However, during the second half, the storyline became difficult to follow and the dialogue exchanges among Harker, John, and Van Helsing lacked pace. Perhaps the adherence to the original vernacular, combined with the deliberate RP delivery resulted in a sense of the second act being under rehearsed. Additionally, the scene changes were slow. While the use of action in front of the house curtains was a clever technique, the transitions between scenes felt laboured. I also wondered whether the background music, used very well in places, could have been utilised more to mask the length of the scene changes and cover some of the silence.

Overall, the play captured the essence of its intended period, brought the play from novel to stage well and had several moments of brilliance in the script, performances, and staging. I enjoyed my evening with the St John’s Players and was impressed by how well the group was supported by the community. Equally, I was impressed by Keiron’s dedication to bringing this classic to the stage, but I felt that the pacing issues and some under-rehearsed performances in the second act detracted from the play's full potential.

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