Dracula: A Feminist Revenge Fantasy Really - 4 out of 5 stars
Theatre Guild Student Society
TICKETS: https://www.trybooking.com/events/landing/1590231
Bram Stoker’s Dracula is a well-known literary work, celebrated for its imagery, tension, and influence on the gothic genre. His style of writing is something not to be understated. However, the novel’s portrayal of women reflects the limitations of its time. Playwright Kate Hamill’s adaptation responds to this directly, offering a more contemporary, feminist interpretation that fills in the gaps of Stoker’s text while introducing a sharper, more playful comic reception. The result is Dracula: A Feminist Revenge Fantasy, Really, feeling refreshingly self-aware and contemporary.
Under the direction of Mona Mortazavi, this production leans
confidently into that duality. Mortazavi demonstrates a clear understanding of
Hamill’s demands, carefully balancing gothic melodrama with moments of
heightened absurdity. The work is engaging, giving Mortazavi a generous palette
to work with. Transitions between scenes are handled with efficiency and
clarity, as well as the stage use upon the mezzanine being used effectively as
the asylum. Mortazavi’s direction makes use of ensemble work, allowing Neha
Ramesh and Emma Batten to fluidly shift between roles and functions within the
story. It is a cohesive vision that trusts both the material and the performers
to deliver its layered humour and tension.
Sophie Davies leads the charge as Dr. Van Helsing,
delivering a commanding and assured performance in her hushed tones. Davies
brings both intellectual authority and a dry wit to the role, grounding the
more exaggerated elements of the production with a sense of control and
precision. Her presence provides a strong anchor for the narrative, while her
ability to navigate the script’s tonal shifts enhances the overall cohesion of
the piece.
Layla Grosser’s Mina Harker is portrayed with thoughtful
restraint where necessary, and emotional clarity. Grosser captures Mina’s
intelligence and resilience, presenting her as a quietly determined figure amid
the surrounding chaos, becoming the hero at the end of the story. Her
performance offers a steady emotional core, allowing the audience to connect
with her stakes within the story.
As Lucy Westenra, Devon Hermann delivers a vibrant and engaging performance that fully embraces the character’s dramatic arc. Hermann balances charm with vulnerability, charting Lucy’s transformation with clarity and conviction. Her stage presence is dynamic, contributing significantly to the production’s emotional and visual energy, and she needs to be commended for her varying physicalities as she flips between damsel and monster.
Neha Ramesh, in the dual roles of Marilla and the Maid,
showcases strong comedic instincts and versatility. Her physicality and timing
are particularly effective, allowing her to create distinct and memorable
character choices in between scenes. Ramesh’s contributions add texture and
provide several moments of levity that land well with the audience.
Emma Batten similarly demonstrates adaptability in her roles
as Drusilla and Miller. Batten brings a lively energy to both characters,
clearly differentiating them through vocal and physical choices. Her
performances complement the nature of the production, contributing to its
overall sense of cohesion and momentum.
Eryn Kralj’s portrayal of Renfield captures the character’s
manic unpredictability with impressive control and vocal clarity, delivering a
performance that is both unsettling and darkly humorous. The physical
commitment and vocal variation on display makes Renfield a compelling and
memorable presence on stage, providing some of the production’s most striking
moments.
Luka Krivokapic charismatic and nuanced take on Dracula is
the standout in this production. Rather than leaning into overt villainy,
Krivokapic presents a more measured and intriguing interpretation, allowing the
character’s menace to emerge through subtlety and presence, as far as to
purposefully switch from a Romanian accent to an English. His interactions with
other cast members are consistently engaging, and his performance adds depth to
the central figure of the narrative.
Ben Hewson’s Jonathan Harker is sincere and relatable,
serving as the story’s “everyday man” and the catalyst for the supernatural
events that unfold. Hewson brings sincerity to the role, as well-meaning but
socially awkward and somewhat naïve, grounding the more fantastical elements of
the production with a believable emotional throughline. His performance underlines the play’s darkly satirical
tone, while still anchoring the emotional stakes of Mina’s struggle and the
broader battle against Dracula.
Maxim Lock rounds out the principal cast as Dr. George
Seward with a steady and dependable performance. Lock integrates well within
the ensemble, contributing to the overall balance of the piece and supporting
the narrative with clarity and consistency. He carries a self-conscious comedic
element, with his stuffiness, rigid manners and insistence on male superiority
being played for comedic relief.
Throughout the production, there are playful references to
vampire lore across various forms of literature and popular culture. These
range from traditional methods of dispatch to more contemporary and humorous
inclusions. The use of glitter, for instance, becomes a recurring visual motif,
though slightly distracting as it catches the light on hair and hands, it
nonetheless reinforces the production’s self-aware tone. Similarly, the choice
of Supermassive Black Hole as curtain call music provides a
tongue-in-cheek conclusion, prompting spontaneous laughter and leaving the
audience on a high note.
There were lighting cue issues where actors were left to start scenes in the dark, and in one instance, were placed in the dark mid-scene, but the ensemble largely carried on without blunder. There was also a moment where one dead character was a little too eager to leave the stage before the lights had dimmed at the end of the scene.
Commendations are also needed for the many bloody scenes as they happen throughout the play. The applications are well-hidden and subtle with great effect.
The Theatre Guild Student Society has delivered a confident
and entertaining production that embraces both the strengths and eccentricities
of Hamill’s script. With a strong ensemble, clear directorial vision, and a
willingness to lean into both comedy and gothic drama, Dracula: A Feminist
Revenge Fantasy, Really offers an engaging theatrical experience. It’s a
production worth adding to your watchlist this weekend.
- Andrew Broadbent
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