Stage Review - Dracula (Theater Northwest)
Stage Review - Dracula
Presented By: Theater Northwest (Tacoma Arts Live)- Tacoma, WA
Show Run: October 03 - November 03, 2024
Date Reviewed: Sunday, October 13, 2024
Reviewed By: Greg Heilman
Dracula. There aren’t many (if any) names that conjure a particular image, or aesthetic than Dracula. Bram Stoker’s novel, its subsequent adaptations, and derivatives are standard fare for the spooky season, that time leading up to Halloween. While many argue that Count Dracula was inspired by Vlad the Impaler, there’s really nothing that substantiates that fact, but rather Stoker created the character based on a collection of Transylvanian historical and folklorish figures. Regardless of its status as fact or fiction, the story of Dracula, the vampire who was gifted with eternal life, unless killed by taking a wooden stake to the heart, the shapeshifter who stays young by drinking the blood of his victims that he, in turns, grants the same curse to, could be the ultimate Halloween character, and one around whom so many others were modeled. Theater Northwest, Tacoma Arts Live’s theatre program, has chosen to produce the stage version of Dracula as its fall show, running through November 3 at the Tacoma Armory in Tacoma. The piece, directed by David Fischer and featuring Christian Bolduc as Dracula, is everything one would expect out of this story. It’s spooky, it’s creepy, and it’s told in a way that truly honors the original Bram Stoker tale.
The first thing to notice about this production is the creative environment. Entering the theatre, the mood is befitting of the story, and that starts with the set. Backdropped by a series of windows that double as french doors, with a solitary bed on the stage, it feels stark and aged. Behind the windows is the screen for the projections, those used throughout the story to provide the effect of movement as well as informing the location, as the set represents not just the asylum run by John Seward and in which the infamous Renfield is institutionalized, Count Dracula’s castle, where solicitor Jonathan Harker has been summoned to help the Count find a residence in London, and the bedroom shared by friends Mina, engaged to Harker, and Lucy, who, when the play begins, has just received three separate marriage proposals. Blake R. York’s set is versatile in its depictions of these locations, and his projection design surely makes this even more so. In fact, there’s a lot to like about the whole of the creative design here, beyond just the set. In any version of Dracula, it’s imperative that light and sound be excellently planned out and performed, and here Nick Shellman’s lighting and G. Alvarado’s sound designs add so much to the overall mood of this presentation. It wouldn’t be the same without the combination of these three elements coming together. The entirety of the design works here, and that incudes Alyssa Gries’ costumes, the focal point being Dracula’s robe of course, but the nightgowns and other clothing worn by Mina and Lucy, and the attire of doctors Seward and Van Helsing, who is called upon by Seward to help with the Dracula problem are equally good. Finally, a special mention to Kelly Zeiler Lynch, who is responsible for props. From a simple chair or bed, to a coffin that easily rolls on and off stage, Kelly’s work is more than complementary to Blake’s set work.
Then there is the actors, the ones who take that backdrop that David Fischer’s creative team have provided and use that to tell this timeless story. At the top of the list, of course, is Christian Bolduc as Dracula. Sure, he’s got the accent that he manages very well, but it’s his energy that makes this work so well. When Dracula meets up with Darryin B. Cunningham’s Jonathan Harker, he’s exceedingly creepy, and when he’s seducing Mia McGlinn’s Lucy, there’s a sexual energy there that fills the room. It’s a sort of strange and scary sexual energy, of course, but the fact that Christian can work each person Dracula comes in contact with differently proves that he is well suited for this role. And on Lucy’s side, there a sensuality there as well, and Mia’s display of this when the “spirit” of Dracula visits her bedroom at night is quite good. It’s in scenes like these when the importance of an intimacy director comes to bear as well and Maria-Tania Bandes B. Weingarden it’s clear has provided a safe environment for these intimate scenes, while taking absolutely nothing away from the energy of their presentation.
Up and down the cast, these actors are all bought into the emotions of their characters and this story. The passion that Seward has, bordering on psychosis, Renfield, who would love nothing more than to be the object of the Count’s attention, is the opposite, a psychosis that is keeping his sanity at bay. Jonathan Swindle is Dr. John Seward and Pyper is Renfield and both supply passionate performances here. Ben Stahl’s Van Helsing is a little more subdued, he’s more analytical and less emotional, it’s just that his intensity is a little more quiet, but it’s most certainly there. Finally, from the main cast, is Darryin as Jonathan Harker and Atlas Peek as Mina. There’s a lot more to Darryin’s role than one would think. He’s a solicitor, a business man, who is driven insane after meeting Dracula in his castle, which is followed by his attempt at a recovery. These transitions, especially in his recovery, are subtle and nicely played. Meanwhile, Atlas’ Mina, Harker’s fiancée, has a deceiving character arc, one that takes a turn in Act 2 and which requires Atlas to show some excellent agility in her performance. Rounding out the cast is Alicia Crowley, Elizabeth Ogle, and Stephanie Silvis, who each play Super Luminaries, kind of like Dracula’s undead army, as well as other supporting roles. This trio is not on stage as often as the other actors, but they each manage their opportunities very well.
The Theatre Northwest production of Dracula is well presented, both from the creative aspect as well as the performances from the cast. My only issue with it has nothing to with either of those, and more to do with the venue. First off, it’s quite toasty in the building. Secondly, it’s easy to hear outside sounds, sirens, motorcycles, etc. Neither of these are really under the control of the cast and crew, but the third is the most frustrating. There is no real angle of incline to the seating, so if someone is sitting, say, behind the first five or so rows, it’s extremely difficult to see everything on stage, especially the scenes that are performed at floor level. Perhaps something could have been done to raise those scenes up a bit, but given the space, it’s hard to say what, and I wouldn’t say this is a reason to stay away, but what I will say is that with general seating (first come, first serve), get there early and grab a seat toward the front, and grab a program to use as a fan.
Dracula just feels like the perfect show to see this time of year, when it’s getting darker earlier, and the moon hides behind eerie clouds, and as it gets closer to Halloween, it seems even more so. The Theatre Northwest production hits all of the marks it needs to in order to present an engaging version of this story. Outside of some issues not related to the cast or creative team, this production of Dracula will send you home looking over your shoulder each night after the sun sets.
The Theater Northwest production of Dracula runs on stage at the Tacoma Armory through November 3. For more information, including ticket availability and sales, visit https://www.tacomaartslive.org/.
Photo credit: Barksdale Jones Photography
