Dracula at Noel Coward Theatre Review
Written by Emmie for Theatre and Tonic
Disclaimer: Gifited tickets in return for an honest review
For centuries, people have been fascinated by the character of Dracula, the OG vampire who has been immortalised in film, television, and even theatre, inspiring other writers, including Anne Rice and Stephen King, to give their own takes on the vampire legend. This millennial will tell you that it was the Twilight films, adapted from the books by Stephanie Meyer, that are particularly memorable!
It’s this iconic character which is the centre point of Kip Williams' new adaptation for London audiences. Bram Stoker’s gothic thriller is the final in a trio of bold stagings of work by the Australian director. The Picture of Dorian Grey and The Strange Case of Dr Jekyll and Mr Hyde have been popular in recent years. Known for blending live performance with cinema, will this production of Dracula have all the bite it needs to succeed?
Written back in 1897, the story is told through letters, diary entries, and newspaper articles. Dracula follows solicitor Jonathan Harker’s terrifying encounter with Count Dracula in Transylvania. When the vampire travels to England on the hunt for new victims, Harker joins a small group, led by Professor Abraham Van Helsing, to stop him.
This production is presented through a striking combination of live video, pre-recorded film, and a live performance from Cynthia Erivo. It is supported by an electric mix of classical, contemporary, and club music, as well as a song composed by Clemence Williams, sung by Erivo, which injects atmosphere and tension at precisely the right moments. While some of the projections didn’t feel as authentic or immersive as hoped, there were definite points in the storyline where they powerfully heightened the drama.
Erivo delivers a true tour-de-force performance, undertaking the near-impossible task of portraying Count Dracula alongside 22 other characters. Performing a 22,000-word monologue in a single evening is no small feat, yet she navigates it with remarkable control and stamina. Despite a few minor stumbles with the script, she more than proves why she remains one of our finest homegrown talents. It is genuinely inspiring to watch her fluidly transition between characters whilst simultaneously managing camera cues and pre-recorded sequences with precision and confidence.
She is supported by camera operators, Marcus Collick, Vicki Matranga, and Benjamin Sheen, who work effortlessly in bringing the piece to life. They navigate the space as a whole, and everything within it, seamlessly and absolutely deserve credit for their contribution to this work. Other team members enter the stage to help transform Erivo into the different characters.
One of the production’s main drawbacks is its running time. Although the programme lists it at 1 hour and 50 minutes, Dracula ran for over 2 hours without an interval. This noticeably affected my viewing experience, as there was no opportunity to pause and reflect on the events as they unfolded. The extended, uninterrupted runtime ultimately makes the piece feel less accessible for audiences, and as I looked around the auditorium, there was a definitive drop in attention and engagement, which is a shame for this work.
Dracula is a brilliantly bloody addition to the West End. With such a limited run at the Noel Coward Theatre, this material will definitely appeal to audiences who want to take their chance on an innovative piece of theatre this Spring.
★★★★
