Review by Anja Bless
The third instalment of Kip Williams’ interpretation of the gothic classics at Sydney Theatre Company, Dracula is another ambitious and masterful demonstration of pushing the boundaries of technology and technique in theatre.
Utilising a combination of live video streaming with pre-recorded video and visual effects, Williams’ adaptation of Bram Stoker’s Dracula creates modern mysticism through the synthesis of practical and visual effects with live theatre. Returning to the solo performer format, this time it is Zahra Newman who faces the mammoth task of embodying the varied cast of characters and presenting lengthy dialogue and narration from the original novel. Newman excels in this challenge, her use of accent, tone, and mannerism to distinguish between the different characters is a masterclass in dramatic technique and characterisation. Although towards the end of the performance the characters become less distinguishable as her costuming ceases to vary with each character, this is possibly the Williams’ intention as more of Dracula’s foes fall under his spell.
Newman’s skill is also in her quick changes between sensual and commanding vampire and dapper and flustered English gentlemen. Her presentation of Dracula fits well within the expectations of the vampire lord, oozing confidence and animalism. The same can be said of Newman’s depiction of other vampires throughout the performance, which draw out the sensuality associated with the charm of these mythical beasts. Although, at times the depiction borders slightly on camp and becomes overly theatrical; it’s a delicate line for Newman to draw whilst working so hard among the moving cameras and set pieces. At times she becomes lost in it all, literally hidden from the audience not only by the hanging screens and projections, but often by the set itself, only visible via the cameras and their displays. This physical disconnection of the audience from Newman somewhat detracts from the power of her stage presence, and the times where she is able to stand front and centre stage without camera or screen to perform to are the most powerful.
These are some of the limitations Williams’ style in his adaptations the gothic classics (carrying on from Portrait of Dorian Grey and Strange Case of Dr Jekyll and Mr Hyde). The format relies heavily on both Newman and the supporting creative team, who have once again ensured a near faultless production. One of the most brilliant parts of Williams’ works such as Dracula is that the supporting crew members are not hidden from view, but rather embedded within the production on stage. Rightly deserving the standing ovation they receive in the bows for their smooth and precise execution in support of Newman’s performance. In particular, credit should be given to video designer Craig Wilkinson and video editor Susie Henderson for achieving some seemingly impossible visual effects in a theatre setting, particularly through their combinations of live and pre-recorded footage. This production also excelled at seamless scene and set transitions, distracting the audience with action on screen at just the right times for set pieces to appear almost magically in the moment that heads are turned.
These factors combined lead to a dynamic and engaging performance. Bringing life to the classics of literature, Williams and his team should revel in the triumph of this series.
Image Credit: Daniel Boud