Dracula, Wolverhampton Grand Theatre - review with pictures

I am not a horror fan as such, but I do know a good play when I see one and this classic thriller is a favourite.

Although the storyline needed to remain intact, I was secretly hoping for an updated version, with a contemporary feel and special effects which would promise me a sleepless night. After all, the book is so atmospheric and dark, it would be unthinkable to deviate from the original format, but I still thought there was room for an edgier adaptation.

I was not disappointed. It was everything I hoped for and more.

From the opening with blood curdling screams, flashing lights and bodies scattered across the stage, to the shocking conclusion at the final curtain, this exceptional production had the audience on the edge of their seats.

The story includes a series of flashbacks, the use of which I often find somewhat confusing, but in this case the talented cast and outstanding script clearly portrayed every moment.

Because it was such a slick production, there really is little need for scenery changes but the action moved seamlessly between Transylvania, the asylum and Lucy’s home town of Whitby with the current trend in modern theatre of the cast moving the props and set, to ensure the flow of the piece.

Ben Cracknell is certainly top of the tree in lighting design and his spectacular atmospheric effects perfectly portrayed the brooding mood of the play, shocking and alarming at just the right moments.

Similarly, Paul Ewing’s eerie music and sound effects filled the auditorium of the Grand; the perfect venue with its own gothic, spine-chilling atmosphere, creating a definite feeling of intensity and the sense that dark forces were at work all around.

Physical theatre is an art which is so difficult to execute well, but Dracula’s vampires formed stunning movement and shapes through this medium, displaying that words are certainly not the only way of conveying a message or feeling.

Glen Fox cut an imposing figure as the Count, offering totally instinctive characterisation and leaving a sense of terror in his wake.

Philip Bretherton as Van Helsing offers a robust performance, showing experience and skills, but Cheryl Campbell steals the show as Lady Renfield, the lunatic inmate of the asylum compelled to eat living creatures. Interestingly this role was originally written for a male but writer Jenny King and director Eduard Lewis obviously made an inspired decision to change the sex. Cheryl Campbell’s portrayal is outstanding.

Maybe the script is a little disjointed and perhaps robotic in parts, but Dracula remains the ultimate vampire tale.

Gripping, terrifying, compelling and disquieting, this latest adaptation of the master of bloodsuckers will leave you glancing over your shoulder on the way home and lying awake deep into the night.

Another absolute triumph for Touring Consortium Theatre. For tickets call 01902 429212 or visit www.grandtheatre.co.uk