Dracula
Music by Frank Wildhorn
Book and Lyrics by Don Black & Christopher Hampton
Based on the Novel by Bram Stoker
Directed by Scott Miller and Tony L. Marr Jr.
Choreographed by Tony L. Marr Jr.
New Line Theatre
June 1, 2024
Kent Coffel, Cole Gutmann
Photo by Jill Ritter Lindberg
New Line Theatre
I need to start out this review with a disclaimer–I am not a vampire fan. Although I grew up surrounded by family and friends who loved horror stories, and particularly vampires, for some reason I have never found these stories especially interesting or resonant to me personally. I’m OK with them in comic situations sometimes, but in general, vampire stories just aren’t my preference. Still, New Line Theatre is presenting Frank Wildhorn’s musical version of Bram Stoker’s classic Dracula, and I was determined to see it with an open mind. My conclusion is that, while vampires are still not my favorite, I can’t deny that this is a well-done show, with excellent production values, a striking aesthetic, a great cast, and the excellent singing I’ve come to associate with New Line. I imagine that anyone who loves classic horror tales, and particularly vampire tales, will love this show.
The show, scored by Wildhorn in a modern pop-rock style, follows the story of Stoker’s novel fairly closely, with a degree of dramatic license to make it fit into something of a “gothic romance” framework. I don’t see a lot of romance, personally, since Dracula (Cole Gutmann) basically decides to stalk Mina (Britanny Kohl) through telepathy upon simply seeing a picture of her, and they don’t physically meet for quite a while. There’s also Jonathan Harker (Ian McCreary) who is engaged to Mina, and also seems to have a loving relationship with her. This “love triangle” of sorts is at the forefront of the plot as Dracula aims to travel to England and feed his hunger for blood, while his minions, the Weird Sisters (Ann Hier Brown, Chelsie Johnston, and Sarah Lueken) continue to haunt his Transylvania castle. Meanwhile, mental patient Renfield (Rafael DaCosta) also appears to have a psychic connection with Dracula, and he announces the impending arrival of his “Master” to the head of the asylum, Dr. Jack Seward (J.D. Pounds). Seward is also one of three suitors who propose marriage to Mina’s friend Lucy Westenra (Vanessa Simpson), along with Texan Quincey Morris (Christopher Strawhun) and her “boring” childhood friend Arthur Holmwood (Alex Vito Fuegner). When Lucy suddenly starts acting strangely after Dracula’s arrival, Seward calls in his former professor, Abraham Van Helsing (Kent Coffel), and the vampire hunt is on! Mina, who struggles between her feelings for Jonathan and her burgeoning desire for Dracula, joins the men in their hunt, but what will happen when she does finally see the Count face-to-face?
The look, sound, and atmosphere of this production is top-notch, especially considering the relatively small space at the Marcelle. Rob Lippert’s set is suitably dark and gothic, as well as versatile, with its most prominent feature being a large cryptlike platform that serves various purposes throughout the story. Matt Stuckel’s lighting is also eye-catching, setting just the right ominous tone as the story unfolds, and the costumes by Zachary Thompson are simply fantastic, with Victorian styling and hints of modern influence, such as Dracula’s shiny black leather-like pants, and the detailed dresses for Mina and Lucy, as well as the more fantastical garb of the Weird Sisters. There’s also an excellent band led by music director Jenna Lee Moore, filling the space with Wildhorn’s memorable score.
Performance-wise, directors Scott Miller and Tony L. Marr Jr. have cast well, with Gutmann making a convincing, brooding Dracula, who has a sense of presence that projects quiet confidence, as well as a strong, resonant voice. As Mina, Kohl is the biggest standout, convincingly portraying her character’s intelligence, compassion, and internal struggle between her established love for Jonathan and her new, initially unwelcome attraction to Dracula (even before she has actually met him in person). McCreary is also impressive as the earnest Harker, and DaCosta is terrific as the Dracula’s frenzied, devoted disciple Renfield. There are also excellent turns from Simpson as the tragic Lucy, Coffel in especially strong voice as the determined Van Helsing, and Pounds, Fuegner, and Strawhun as the three suitors-turned-vampire hunters. Brown, Johnston, and Lueken are also suitably creepy and bloodthirsty as the Weird Sisters. The ensemble is especially cohesive, with particularly impressive singing all around.
Overall, I’m impressed in an aesthetic, dramatic, and vocal sense. Even if vampires aren’t exactly my cup of tea, I can’t deny that New Line has done a great job with Dracula. This is a well-paced, thoughtfully staged, impressively designed production. I would think that vampire aficionados will love this show.
Kent Coffel, Ian McCreary, Brittany Kohl, J.D. Pounds
Photo by Jill Ritter Lindberg
New Line Theatre
New Line Theatre is presenting Dracula at the Marcelle Theatre until June 22, 2024
