The evil vampire, Count Dracula, stalks the streets of London. He, himself, is hunted by a group of adventurers pledging to end his reign of terror. This is the story of Dracula written by Steven Dietz and based off of Bram Stoker’s classic novel and is currently playing at the UNO Theatre.
I have always considered this version of the legendary tale one of the better ones as it is based much more closely on the novel. Dietz manages to capture the most important elements of Stoker’s novel though he does eliminate two crucial characters and compresses events down to size for the sake of the play.
D. Scott Glasser’s direction is fairly solid. He makes good use of the cobblestoned three tiered stage (wonderfully designed by Robbie Jones) and had his actors well placed for the multiple simultaneous scenes that take place during the course of the show. But I did disagree with his staging. The actors presented the story in a very theatrical manner which seemed over the top at certain points which resulted in snickers and chuckles from the audience. A more realistic approach would assist in making this show a true spellbinding chiller.
Michael Judah does fine work in the title role. He has a nice intimidating physical presence and lent an air of mystery to the character as he quickly appeared and disappeared on stage. I was especially impressed with his rejuvenated Dracula as he was truly a beast. He took what he wanted, succumbed to his appetites without regret, and oozed danger. His weaker, aged version of Dracula (a stellar make-up job from Charleen Willoughby) was a bit too energetic and animated. I also thought Judah needed to be more authoritative as weaker Dracula as he is a nobleman and warrior with centuries of experience and cunning on his side.
Andrew Prescott is excellent as Professor Abraham Van Helsing, Dracula’s chief nemesis. Prescott’s marvelously powerful speaking voice was well suited to his bold, decisive characterization. He was truly a man of action and convinced me that this was somebody I would want leading me into a dangerous situation. Prescott does need to be careful not to upstage himself as he turned his back on all of the audience members in the round on a couple of occasions.
Enrique Madera made some odd choices in his interpretation of Renfield. When he opened the play, he spoke with a Received Pronunciation accent and had utterly flawless diction. When he transitioned into the Renfield of the story he fell into a Cockney accent and his diction vanished. At certain points he also seemed to imbue the character with some effeminate qualities which I didn’t think worked very well. Madera also didn’t seem to quite get Renfield’s true nature, though he was on the right track. Renfield is a man of massive extremes. When he is sane, he is completely calm and controlled. When he goes through a psychotic fit, it is savagely violent and he is capable of making those changes on the turn of a dime. Madera was making those changes but they need to be sharper and more pronounced. I also thought his choice to consistently giggle was a little too clichéd.
Garrett Garniss’ portrayal of Dr. Seward was a superior work of storytelling. His rich voice captured all of the subtle nuances needed for the character. I could feel his pain when he lost Lucy, his confusion and irritation with Van Helsing who would not reveal the whole truth of the situation, his anger and disgust at what needs to be done with Lucy, and his courage and determination when he decides to accept the burden placed upon him. It was truly fine workmanship.
The only flaw in Mike Burns’ Jonathan Harker was its theatricality. Toned down a few notches, it is a gripping performance. Burns did good work in portraying Harker as the hungry new solicitor determined to do good by Dracula as his leasing agent. Most impressive was his turn as a nearly catatonic patient after the horrors he experiences at Castle Dracula.
I thought Sarah Nickolaisen made for a very sweet Lucy Westenra. She could be playful as when she was teasing Mina, empathetic when she rejected Seward’s marriage proposal, and I was chilled when she transformed into the eerie and bestial Bloofer Lady. She does need to be certain to overenunciate when she has the fangs so she can be understood.
Likewise, I thought Jordyn Petersen was loyal and steadfast as Mina Murray, but she also needs to watch her diction as her dialogue was mushy at points during the play.
Charleen Willoughby’s costumes were perfect for the gothic tale. Aaron David Wrigley’s sound was an ideal match to the mood of the story. Adam VanOsdel’s special effects could not be improved upon. Audrey Wardian’s lighting was well suited, but was a bit too dim and shadowy. For a large portion of the play, I had difficulty seeing the actors and could not read their reactions and expressions.
The play did have some group issues as well. The theatre is a black box so the actors need to really belt out their lines to be heard. Accents were a mixed bag and sometimes were dropped and changed. The pace of the show also needed to be greatly picked up and scenes of violence need to be tighter and cleaner. Still, I see untapped potential in this show. As this was the first of two preview performances, there is still time for adjustments to be made to allow the show to reach the heights I believe it can reach.
Dracula plays at the UNO Theatre in the Weber Fine Arts Building through October 10. Performances are Wed-Sat at 7:30pm. Tickets cost $16, but UNO students get one free ticket. Reservations can be made at 402-554-PLAY or their website at www.unomaha.edu/unotheatre. Dracula is a horror story and is recommended for mature audiences.