Dracula: Mina’s Reckoning
Eden Court Theatre - 28/09/23
National Theatre of Scotland co-production with Aberdeen Performing Arts in association with Belgrade Theatre, Coventry
The last time I watched a play about this particular Vampire was in 1978. ‘The Passion of Dracula’ at the Queens Theatre, Shaftesbury Avenue, starring the divine George Chakaris, Geraldine James, and Roy Dotrice. Since then, the only encounter has been Mathew Bourne’s vampire fairies in ‘Sleeping Beauty’, plus living near Purfleet in Essex where his boat was supposed to land. So full of expectation I joined a packed house of mostly teenage school parties to enjoy a spooky night out courtesy of the National Theatre of Scotland. A spectacular set awaited, and the opening salvo of sound and light fulfilled my expectations. This was not alas to be. Acclaimed writer and creator Morna Pearson (she/her) has explored the influence of the work of Scots woman, Emily Gerard, who researched in depth her passion for folklore, fairy tales and Transylvanian superstitions whilst based in Sibiu. She is credited with introducing the term ’Nosferatu’. Along with Slains Castle, Cruden Bay, in Aberdeenshire which is believed to be the inspiration for Bram Stoker. In this production it is envisaged as a Lunatic Asylum for women based on the Lunacy Act (Scotland) of 1857.
So, there you have it. The perfect setting for Dracula. With a talented non-binary cast of strong physical actors, a terrific multi layered set, and an overlaying soundtrack of ominous music and effects, this should be an exciting theatrical event. Sadly, all this overpowers the narrative and the dialogue. At times, it became difficult to follow the ingenious plot and the complex issues underlying it. There were terrific performances from the whole ensemble with the leads Liz Kettle (she/her) as Dracula and Danielle Jam (she/her) outstanding as Mina. The introduction of the some of the dialogue in Doric made it more complex, but a clever move as the setting was Aberdeenshire. Throwing a light on the plight of women in that era, although noble, also muddied the dynamic. There were jokes along the way, raising a chuckle in the stalls, making the show at times pantomime.
No bats flying over the auditorium and no gasps of horror. I had half hoped some of the teenagers would faint or shriek as the blood coloured the wall of the castle. (An experience at Shakespeare’s Globe came to light.) But in an age of violent video games and TV that was not going to happen. The teenagers filed out dutifully to their waiting coaches to probably write up the experience. It would be interesting to read their reports. This production is a shrewd move on behalf of the National Theatre, bound to be a commercial success as the tour is timed around Halloween. Putting it in context, it is an innovative retelling of a classic horror story.
