Director: Helen Tennison
Writer: Kate Kerrow
Cast: Sophie Greenham & Bart Lambert
2 February – 3 March 2019
Reviewer: Peter Hoekstra-Bass
In the aftermath of Anne Rice, True Blood and Twilight it’s easy to forget the original bloodsucker to make us fear the dark, but Creation Theatre’s production Dracula is here to remind us in an evocative fashion.
The twist here is that Dracula takes place in the London Library, amongst the very books that, over a century ago, Bram Stoker used to research his seminal work of vampiric fiction. This is a fact only recently discovered by the library itself, a charming institution that seems itself torn from the pages of a romantic Victorian novel.
Creation Theatre is no stranger to site-specific productions, and has been staging them for over two decades, including last year’s original run of Dracula in Blackwell’s Bookshop, Oxford.
The play itself is a two-hander starring Sophie Greenham and Bart Lambert as Mina and Jonathan Harker, as well as several other secondary characters. In the aftermath of Jonathan’s encounter with Dracula on the continent and the death of Mina’s friend Lucy, we meet the Harkers as they grapple with grief, a new and flawed marriage, and a growing darkness neither of them wishes to address.
Though still firmly Victorian in themes and1950s in setting, Creation Theatre’s production makes great strides in adapting Stoker’s text for the twenty-first century, making it more palatable for a contemporary audience than the at times stilted pace and style of the original (I confess I have tried but never succeeded in reading the book myself).
Greenham and Lambert juggle their multiple characters well, but I often found myself longing for them to return to the central imperilled couple, where their chemistry was most keenly felt, rather than lingering on the secondary characters as the script did for large parts of the second act.
And speaking of the second act, the text itself is somewhat bloated, and saw me wishing it has been edited to a tight seventy-five minutes rather than the two hours with interval it stretched for.
As always with horror, whether on screen or stage, the monster is best when left unseen, and in the case of a figure as well known as Dracula, he can work his dark magic best when even left unmentioned. The strongest parts of the play were when the Count’s influence was felt but never mentioned, and despite cunning and eerie use of projected special effects and soundscapes, the monsters were always at their worst when they were at their most palpable.
The audio and visual design by Matt Eaton and Eva Auster respectively was mostly excellent and evocative, with the notable exception of a particularly egregious animated bat that looked straight out of Microsoft Word clipart circa 1998.
For a piece of site-specific horror theatre in as apt a site as you are likely to find, fans of all things vampiric are advised to catch Dracula at the London Library while they still can, as the season is expected to sell out.