Billed as ‘a tale of undying love’ “Dracula” as adapted by Bryony Lavery has brought Bram Stoker’s enduring masterpiece into the 21^st century.  Her use of the computers, mobile phones and digital photography add a new and interesting slant on the story. She has also added humour where I had never noticed it before and has managed to develop an exciting closing line.

The set is open and consists of several acting levels and platforms connected by steeply sloping narrow walkways, with two large screens used to demonstrate computer screens and digital photographs sent between characters. The overall view is dark and ominous with flying walls at strange angles. Entering the auditorium we are presented with this foreboding scene and the continuous hypnotic repetition of a disembodied voice calling out to his lost love.

We see the tale unfold through a child’s eyes thanks to the memories of Jonathan Harker, plaid by Giles Fagan. Jonathan travels to Transylvania to the Castle of Count Dracula to sell him a property in England. Leaving behind his girlfriend Mina and her best friend Lucy. Although Jonathan laughs at the Counts teasing about ‘Vampires’ he cant help growing uneasy as he is deprived of sleep and pumped of information about several aspects of British law.  Blithely sending E-mails and texts home he is surprised not to receive any responses.  His concern is heightened by a visit from the three-vampirish women living in the castle and Dracula’s preparations for shipping crates to Britain.

Meanwhile Mina, played by Laura Howard, is growing more and more concerned by her inability to contact Jonathan and the behaviour of her best friend Lucy, Katie Foster-Barnes, who should be in good spirits thanks to her recent engagement but while on holiday together in Whitby, her friend begins to sleepwalk.  Lucy’s condition worsens as the Count's ship draws closer to shore and finally is guided into Whitby harbour by the hands of a dead man.

One of Lucy’s spurned suitors, Dr Seward played by Hywel Simons, is a physician working in a lunatic asylum next door to the property sold by Jonathan. In his care is the deluded Renfield, Ben Keaton, whose condition is also deteriorating daily.  Renfield’s mutterings of the master or to the master worsen as days go past.

As Lucy’s condition deteriorates her mother, Jane Lucas, and fiancé Arthur, Damien Goodwin, call in their trusted friend Dr Seward.  Baffled by her condition he calls in his ex-tutor Professor van Helsing, Colin Baker. It takes some time before he gets to the cause of the problem and stresses the others wont believe him. After Lucy’s death he is contacted by Mina who has had Jonathan returned to her by the doctors of a foreign asylum and has transcribed his rantings on to computer.  Her worst fears are realised as she begins to be affected in a similar way to her deceased friend.

The interaction of Mina and Van Helsing betrays something un-said, some invisible link which has only just been rediscovered.  Similar yet vastly different to the link between Mina and the Count who believes her to be his lost soul mate.

Whether the friends unite to defeat the figure of Evil I shall leave you to discover by going to see the show yourselves. I will say however every character is played with a deep conviction and total believability. I was surprised to hear I had just witnessed Colin Baker’s first performance as Van Helsing as both himself and the cast seemed totally at ease.

Apart from those mentioned above we saw a young boy plaid by Joshua Beaven and a little Girl, Jade Anderson Two local children making their theatrical debuts.

I haven’t said much about Richard Bremner as Dracula, if you find him as hypnotic yet terrifying as I did you’ll understand why!

Reviewed by Sheila Kay, www.one4review.com Tuesday 12th April 2005.