Dracula

Dublin Castle marked their Hallowe’en weekend Bram Stoker Festival with a stripped down theatrical interpretation of Stoker’s original 1897 text in the Print Works space.

Jonathan Harker (Patrick Doyle) travels to Transylvania to make the final legal arrangements for Carfax Manor being signed over to Count Dracula (Karl Shiels). He is warned off by the superstitious locals, and his coachman even attempts to dash past the rendezvous, but Harker’s perseverance pays off … to his misfortune. The Count is initially welcoming, but soon Harker realises he is trapped in a Gothic nightmare. His attempts to escape leave him a broken man in the care of Dr Seward (Neil Fleming) back in England. However, the mysterious death of Seward’s fiancé Lucy Westenra, and the ravings of another patient Renfield (Gerard Adlum) lead Seward to confess the truth to Harker’s wife Mina (Nessa Matthews); Lucy was killed by a vampire, and her emasculated husband was the first English victim of that ancient evil intent on conquest – Dracula…

The Print Works is a difficult space to stage Dracula, as the audience sits in a horseshoe arrangement of rows of chairs around a long raised runway. This works well for the initial scenes as Harker brushes off the peasants and makes his way down the runway towards Castle Dracula, and it allows Dracula some nice scares when he stalks among the audience to make his way onstage, but it makes it hard to be truly scary when there’s no grand guignol supply of squibs. Director KH T’* instead concentrates on using Stoker’s text to hypnotic effect. Patrick Doyle is a very effective Harker. His crisp English accent overlays a subtly played decline of Victorian confidence as grudging respect for the natives’ sincere concern morphs into panicked desperation and impotence. Karl Shiels is an impressive Count. His over-elaborate courtesy is deliciously played, and a nervous tic with his hand betrays the immense bloodlust he is restraining. The weird sister (sic) makes a creepy appearance indebted to The Ring, but the true power lies in Harker and Dracula’s twisted relationship. Mark Curry’s lighting dims to two spotlights on the pair in the large dark room, to focus the impressive sound design by Jody Trehy and Cian Murphy onto Stoker’s language of sensuous rush as Dracula attacks both Harker’s blood and being.

Stephen King dubs Dracula’s vanishing act from his own story one of “English literature’s most remarkable and engaging tricks”, but it breaks the spell of this performance. Jumping from Harker’s escape attempt to Mina visiting Lucy’s grave is disconcerting enough, but then Van Helsing, Godalming and Morris are composited into Dr Seward; and Dracula without Van Helsing is like the Brat Pack without Judd Nelson. This may not disconcert people unfamiliar with the novel, and it works structurally in creating a lean tale, but it also makes Seward and Harker look quite dim. Mina deduces Dracula’s powers and weaknesses not by mastering the chaotic journals and notes of five disorganised men, unaware that they’re working the same case, but by pointing out the obvious to a doctor and his patient. This tragically undermines the character’s strength, despite Nessa Matthews’ commanding presence. Adlum is an unexpectedly restrained Renfield, who’s delusional enough to delightfully fix his hair before meeting Mina, while Fleming exudes decency and gravitas as Seward. Matthews provides the best scare, shrieking when Seward tries (too late) to spell her against Dracula using a communion wafer, but once Dracula fades from the story the power of this production steadily ebbs away as well.

T’* coaxes fine performances as he delivers half of an impressive adaptation here, mounted with gorgeous costumes by Sarah Finlay, but the complications of Stoker’s novel ultimately defeat him.

2.75/5