Dracula - Review

NYT Workshop Theatre, London

****

Written by Tatty Hennessy after Bram Stoker

Directed by Atri Bannerjee

Bram Stoker’s Dracula really is immortal. For this gothic vampire, usually resident in the Carpathian Mountains of Transylvania, is currently to be found stalking the capital's streets in not one, but two staged productions. As Cynthia Erivo currently stars in a multi-million pound West End extravaganza, a short hop up the Holloway Road (where north London really is blood-red!) finds the National Youth Theatre’s REP Company having become literal stakeholders in a far more bonkers, low-tech and sanguinous interpretation of Dracula's gory tale, but which nonetheless turns out to be a show that proves lip-smackingly entertaining.

In a production that’s part funded by John Gore of the legendary Hammer Films company, Atri Bannerjee directs his young company with enthusiasm and energy, if not perhaps, finesse. Tatty Hennessy’s take on Stoker's story plays fast and loose with both time zones and settings, but throughout all the narrative's blood-soaked clutter, still offers a raft of emerging performers the chance to show off their skills.

The eponymous Count is notably absent from this production, however the cast is riddled with his victims. Louise Coggrave is Lorna, effectively the most prominent vampire in this show, and she’s fabulous. Returning from her own funeral to suck the blood from her sister Millie (don’t ask), played equally wonderfully by Maya Coates, as the plot becomes increasingly incredible, the acting just gets better and better.

Hennessy imbues her iteration of the classic with three Brides of Dracula. (Amy Young, Jo Bentley and Rachael Dowsett). These three characters are as madcap as they are sensuously stylish, and whilst an act one scene that sees them wringing out sponges that are literally drenched in stage blood, whilst the storyline may be indecipherable, the horrific visuals are magnificent. There’s always been a very thin line between humour and horror, and this production deliciously drains that rich flowing vein of humour.

Sasha Jagsi as Lucy, one of the shows more standout victims is another treat, while Rhia Burston as her best buddy Mina is charmingly convincing in a relatively blood-free role.

In a coup of theatrical casting, a youthful Christopher Lee (yes, that's his real name!) plays psychiatrist Jonathan, who also gets his hands dirty with lashings of stage blood as Jack David Collard puts in a fun turn as Arthur, who once held his affianced Lucy in the deepest adoration. Sumah Ebele offers an intriguing north American accent as she sinks her teeth into playing Professor Van Helsing, complete not just with crucifix and lashings of holy water, but a hacksaw too, ready to decapitate Dracula's infected followers. Luka Wellman's lunatic Renfield is a blast, as is Nicky Dune's Noah who struggles with the nuances of 21st century clubbing in the play's second half.

Much of the beauty of Stoker's Victorian original has been callously allowed to bleed out from Hennessy's version, however Alex Musgrave's stark lighting serves Naomi Dawson's simple staging very well, and all the while the stage blood spurts and gushes.

Dracula from the NYT is a fun and thrilling ride that's not for the squeamish.

Runs until 13th March