Type – Ballet, Gothic & Macabre
If you liked – Bram Stoker’s Dracula, Swan Lake
DRACULA: a multi award winning ballet packed with macabre storytelling and spellbinding choreography
Based on Bram Stoker’s iconic novel of the same name, Dracula follows the doomed encounter between young solicitor Jonathan Harker and the immortal Count Dracula, whose dark obsession leads him from his Transylvanian castle to Victorian England. As Dracula preys on the innocent Lucy and Mina. It all comes to together in a complex story of love, sacrifice and supernatural forces highlighting humanity and damnation is equal measure set to beautiful orchestral score.
The West Australian and Queensland ballet celebrates its triumphant return to Adelaide’s Festival Theatre returning after a ten year long absence since Dracula was last staged. Draping the proscenium arch of the Festival Theatre in gothic splendour, the audience was enraptured from the first note to the final thrillingly choreographed step – it lived up to the hype that blood does indeed dry faster in the electric air surrounding this dramatically staged ballet.
The gothic splendor continues across all elements of the production, starting from the lavish intricate sets created by Phil E Daniel’s and Charles Cusick Smith such as the towering Dracula’s castle exterior, interior with its spiral staircase and the gloomy death and decay of the vampire’s lair – the home of unspeakable evil. This contrasted directly with the vibrant, lively, and warm Westerna household with the dramatic sparring between aristocrat suitors Arthur Holmwood and the psychiatrist Dr Jack Seward. – winning the affections of Lucy Westerna echoed Bridgerton or Downton Abbey.
The eerie and disturbing switch between the light and dark continued across the ballet as Dracula stalked his victims one by one. The costumes were elaborate serving the story well by adding to its immersive and unique quality, making it easy for audiences to differentiate vampires from aristocrats, further shown through the physicality of their dancing. The vampires had an otherworldly way of moving compared to the living, often gliding across the floor or moving in a janky, contemporary fashion. The lighting balanced for both light and dramatic moments, used in ways that transformed the stage into different rooms or areas in dramatic moments. The use of props and other clever elements to distract the audience in transformation scenes worked well, while the performances grounded the production and kept audiences as captivated as Dracula’s hypnotised victims.
While the visual elements of Dracula remain striking, this Adelaide season has been overshadowed by more than the Count’s imposing shadow – the West Australian Ballet’s decision to use recorded music instead of a live orchestra. With music arranged by Michael Brett and Joshua Davis and composed by Wojciech Kilar under Principal Conductor Jessica Gethin, the score remains powerful, yet many critics and audience members felt the lack of a live pit robbed the production of the emotional, symbiotic energy usually found between the dancers, the conductor and the audience.
On opening night this left some audiences feeling the soul of the piece was missing, particularly in a work where orchestral accompaniment is integral to engaging audiences in the arts in the first place. This, combined with the knowledge that some theatre shows like Dear Evan Hansen or Back to the Future closed early or cancelled their nationwide tours, highlights the delicate balance the arts industry is currently facing casting a larger shadow than Dracula ever could.
The ballet had many standout performances throughout its duration, each strikingly unique, bringing their own unique flare and technical skills to the piece. Oscar Valdés (Young Count Dracula) and Ludovico Di Ubaldo (Old Count Dracula) were both radiating an intimidating and powerful stage presence complete with dramatic cape flourishes. In the female performers such as Chihiro Nomura (Elizabeth/Mina), Lucy Westerna Mayume Noguromi (Lucy Westerna) and Nikkia Blain (Mrs Westerna) each provided powerful feminine roles within a story known for its infamous male protagonists.
Jurgen Rahimi (Jonathan Harker), Adam Alzaim (Professor Van Helsing) and Jesse Homes (Renfield) provided compelling male foils to the feminine, each taking charge of their scenes with depth and impactful character choices. Rounding out the cast was a talented ensemble of Phantoms and Vampires alongside a few standout young performers who upped the stakes for the audiences when they were placed in mortal peril.
Is DRACULA Worth Seeing in Adelaide?
Dracula remains a world class night at ballet for those who dare to enter the Festival Theatre and come out alive. It’s sweeping score, opulent sets, detailed costumes and commitment to both meaningful choreography and to the story all combine to make it a memorable night and a must see for those who love ballet and a good introduction for those who think it is not for them, it is packed with thrills, shocking delights and will have audiences wanting more. Ending to rapturous applause like a rock concert rather than an intimate night at the theatre.
Tickets and Practical Info for Dracula in Adelaide 🎟️
West Australian Ballet and Queensland Ballet Production
Season April 17th to the 22nd
Tickets: https://www.adelaidefestivalcentre.com.au/whats-on/dracula
CREATIVES
Choreographed by Krzysztof Pastor
Set and Costume Designs by Phil E Daniel’s & Charles Cusick Smith
Lighting by Jon Boswell, Librettist Pawel Chynowski
Composed by Wojciech Kilar
Music Arrangers Michael Brett & Joshua Davis
Principal Conductor Jessica Gethin
CAST
Young Count Dracula Oscar Valdés
Old Count Dracula Ludovico Di Ubaldo
Elizabeth/ Mina Chihiro Nomura
Jonathan Harker Jurgen Rahimi
Lucy Westerna Mayume Noguromi
Mrs Westerna Nikki Blain
Arthur Holmwood Julio Blanes
Dr Jack Seward Juan Carlos Osma
Professor Van Helsing Adam Alzaim
Renfield Jesse Homes
Phantoms Ruben Flynn-Kann & Joshua Ballinger
Vampires Alexa Tuzil, Polly Hilton & Indiana Scott
