Fallen Angel Theatre
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White Bear Theatre
Review by Lottie Morris
Dracula, Bram
Stoker’s iconic novel, has seen so many adaptations and interpretations over the
years that one could justifiably pose the question; ‘do we need one more?’. So
many productions have completely missed the mark in the past, could it be that there seems
to be an unspoken quest with ‘creatives’, many of whom are in the field of
musical theatre, to strive to ‘get it just right’. I can count at least four
versions in recent years that have left me so utterly disappointed and dissatisfied when
the final curtain falls, that I hope and pray I don’t have to sit through yet
another. That said, after watching the latest offering at the White Bear Theatre, I think
that relative newcomer, Alex Loveless, might just have hit the mark.
Loveless, who, not only adapted the book from Stoker’s novel but also wrote
both the music and lyrics, has returned to the original text, focusing on the characters
and their personal relationships. Through the huge range of themes and issues raised in
the text, Loveless has focused on how, these individuals, through fate and circumstances,
were catapulted into a nightmare world that none of them would, or could, have ever
imagined possible. It is a claustrophobic and terrifying world where one wonders if there
will ever be an end to the misery and suffering that overwhelms those involved. It is this
attention to the human aspect that makes this version by far the most successful that I
have seen to date.
The ‘epic’ style he has adopted works beautifully with the presentation
of text through diary form, as the original work was written; this provides a useful
structure to build this interpretation around. What is also effective, is the cinematic
style of underscoring the dialogue, coupled with a number of memorable songs (at last
someone writes a tune you can remember the following morning), giving the feeling of a
‘sung through’ musical. This device helps to unify what is, in essence, an
extremely fragmented story.
With this in mind credit has to be given to Musical Director Neil MacDonald, who at
one electric piano, plays non-stop throughout the entire two hours, accompanied, at times,
by two cast members on the cello and guitar. Occasionally, one felt that more colour and warmth would
have been beneficial in the delivery of the music if only to provide a greater difference
in mood, but obviously this is a funding issue and should the piece develop further,
additional arrangements, both musically and with the harmonies could happen.
Directed by Chris Loveless, brother of Alex, there is a complete believability of
the events that unfold. In the performing space that is the White Bear, probably no larger
than twice the size of a standard
Justin Arienti’s set, simple in its premise, a curved wall of painted plastic
corrugation with three gauze covered doorways, is one of the most sensitive and
appropriate designs I have seen at the theatre, it wraps itself around the audience,
physically drawing you into the story. Lighting designer Cristina De La Paz manages, with
only 18 lamps (I counted them) to effectively complement the piece, giving a feeling of
inescapable claustrophobia, whilst Christina Pomeroy’s costumes, despite obvious
budgetary limitations, add the finishing touches to Dracula’s high production
values.
Dracula himself is played by the impressive Leigh Jones, whose presence never
leaves the stage for one moment. There is strong support from Annabel King as Mina Murray;
Joanna Hickman as Lucy Westenra, Mario Christofides as Dr. John Seward, Russell Anthony as
Arthur Holmwood, Jamie Addleton as Quincey P. Morris and a particularly noteworthy
performance comes from Oliver Hume as Van Helsing, who plays with conviction and
sensibility, rather than many of the rather laughable previous incarnations. I must also
give a special mention to Richard Warrick as Renfield, who with depth and humour never
once falls into the realms of a clichéd insane patient.
Alex Loveless’s Dracula is an intelligent and memorable interpretation
of the Stoker novel, a feat that has eluded many of those who have tried before him. One
hopes that this new musical will capture the attention of those in a position to develop
the piece as it is one of few new works that truly does have potential to go further. Dracula at The White Bear Theatre, The White Bear
Theatre 138 Kennington Park Road London SE11 4DJ until Sunday November 23. Box Office: 020
7793 9193 |
The Remains of the Day - Musical Alex Loveless' musical adaptation of the novel by Kazuro Ishigurodirected by Chris Loveless Kazuo Ishiguro's Booker Prize-winning novel
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