In the pantheon of fictional creations there are few as
exotic and fearsome as the grandest of the Undead, the most famous Vampire of
them of all, Dracula. It is a name that immediately conjures images of blood
drenched horror and the seductive allure of immortality hideously perverted. Like
the timeless character itself that can turn into mist or bat or wolf, the
vampire legend evolves and mutates over the generations and across formats. It
is a myth I have always loved and certainly a favourite of Hollywood’s even
from its earliest days.
With the saturation of such supernatural creatures in
today’s multi-media formats, however, something of the essence of the story and
its origins has been lost. This is where director John King and the Murdoch Theatre
Company come in with a traditional interpretation from a script nearly a
hundred years old. It will be immediately familiar to anyone who has read Bram
Stoker’s masterful novel. To a newer audience it sets out the foundation for all
the elements on which the myth rests. If you’re expecting Twilight or Blade or Underworld
or True Blood or any of their ilk you might be disappointed as this faithful
adaptation eschews all the subversions and perversions that have bombarded our
screens, small and large. But each one of those owes a huge debt to where it
all began...
... in a sanatorium where Lucy Seward (Toni Vernon) is beset
by an ailment her father Doctor Seward (Stephen Platt) and fiancé Jonathan
Harker (Philip Hutton) are baffled by. A patient, Renfield (Rhys Hyatt) is
also under assault for his very soul as his Master, the mysterious Dracula
(Joel Sammels), compels obedience from afar. In desperation Seward summons
Abraham Van Helsing (Jason Dohle) to save his daughter. The Professor diagnoses
a condition beyond imagining and the hunt is soon on to destroy the very things
that leave the rapacious Dracula free to feed on Lucy. But the Vampire, assisted
by his beguiling brides and human pawns, is a formidable foe not easily bested.
Like any good gothic horror tale mood and atmosphere is
vitally important and this is where the productions excels. The multi-level set
is exquisitely dressed and lit to represent the offices of the sanatorium and
later, with impressive efficiency, the underground lair where Dracula’s resting
place is hidden. There is a real sense of old world charm and naivety where the
still fledgling disciplines of science and medicine are no match for such an
ancient foe. The dialogue, at times heavily expositional and a little twee to
modern ears, works because it is placed precisely in that environment. These
people are discovering a terrible reality for the first time.
Great attention has been spent on the details to make this
world credible from costuming to props and makeup. There was only a minor
moment where my suspension of disbelief was broken but a mirror on set was always going to be
problematic with a creature such as Dracula that is meant to cast no
reflection. Otherwise this exudes atmosphere and the lighting design by Scott
McArdle is an example of how a film literate generation can add so much to the
stage. Some of Dracula’s entrances, backlit and silhouetted in smoke, are
perfectly composed ‘shots’. They are both menacing and sumptuous to look at
which is no small feat. The same with the writhing brides who loom above the
main set in all their sensuous and intimidating glory. Composer Drew Krapljanov
adds the finishing touch with a score that buttresses the intrigue of the slow
burn first act before turning the screws on the urgency of the final
confrontation.
To the performances and Sammels makes for a charismatic and
scornful Dracula and I especially liked the physicality of his movement when
hemmed in by Wolfsbane as if he were a feral animal. Hutton is a most upright
and proper Harker in his formal dinner attire with hands often interlaced
behind the small of his back. It’s a tightly controlled characterisation that
was fascinating to watch. Platt was too earnest for mine as Seward and just
needs to relax into the role. There were times he was prone to over emphasis in
the delivery of dialogue but in fairness some of his lines are of the “good
god, man!” variety which are difficult to convey convincingly.
Vernon’s petite stature helps immeasurably in presenting a
woman who is fragile and emotionally vulnerable after the nightly draining of
blood. The transformation from anaemic victim to threshold vampire is an
entertaining one as her Lucy, now in red, is confident and forceful in ways
poor Harker cannot contend with.
Rhianna Hall and Alex McVey play a housemaid and attendant
respectively and share a funny set piece scene in the first half that
breaks the tension and allows the audience to laugh. McVey, in particular, adds
belly laughs throughout as his Butterworth struggles to deal with the seemingly
superhuman Renfield. It’s a critical counterpoint to the serious business of
stakes through hearts and lives in the balance. Jess Serio, Christie Strauss
and Jenia Gladziejewski are the irresistible vampire brides who look awesome
and add that touch of sensuality to proceedings.
Then there’s Jason Dohle as Van Helsing, the famous
professor armed with the knowledge and courage to confront the vampire. Dohle
is charming, inquisitive, insistent and determined while showing a softer side
when dealing with Lucy. Armed with Wolfsbane (instead of garlic in an interesting
touch) and an eastern European accent he drives the action and is a most robust
protagonist. Hyatt has perhaps the trickiest part of all as the crazed Renfield
swings in and out of lucidity depending on the hold of his Master. It’s a busy
performance that flirts with caricature but ultimately won me over, notably in
the moment Hyatt allows us to see Renfield’s sudden realisation of his fate.
The first half takes a while to swing into gear and that scene
between Hall and McVey really kick started the production for me. The second
half picks up the pace and King builds the tension as we wonder how our heroes
will triumph. It’s a testament to all involved that while most of the action
takes place off stage this dialogue heavy script is still so compelling. It’s a
great start to The Gothics Trilogy and there is a smart and funny coda at the
end that leaves the audience eager for the next instalment.
Dracula, written by Hamilton Deane and John L. Balderston
and directed by John King, is on 7.30pm tonight and Saturday 9 July at the Nexus Theatre on
the Murdoch University campus.
*photos by EClaire Photography
No comments:
Post a Comment