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Cynthia Erivo to star in DRACULA | New one person production to open in the West End in 2026
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Mickey Jo
He could be that boy. But she's not. Bat girl. Get it, get it. Because it's a. It's a. It's a vampire bat. Don't worry, she could defy gravity. Oh, my God. Hey. Welcome back to my theatre themed YouTube channel, or hello to you if you are listening to this on podcast platforms. My name is Mickey Jo and I am obsessed with all things theatre. And today we have some very exciting, interesting and altogether unexpected theatrical news that begins in the West End, but just might begin to travel over to Broadway. We will have to wait and see. It has been announced that Cynthia Revo, star of the West End, star of Broadway, Tony Award winner, and of course ELPABA in the two part Wicked movie, as well as this year's host of the Tony Awards, is going to return to the stage, to the West End stage, playing every single role in a stage adaptation of Bram Stoker's Dracula from the same Australian theatre makers and creatives who put together the adaptation of the Picture of Dorian Gray, which was first seen in Australia, subsequently at the Theatre Royal Haymarket in London and can currently be seen at the Music Box Theatre on Broadway. And in that production, Sarah Snook plays every single role in the Oscar Wilde story and won an Olivier Award for her extraordinary performance. And so Cynthia Erivo is set to follow in Sarah's footsteps in what looks to be a creatively similar production. But we're going to talk a little bit about that. I'm going to talk you through the press release that I have been sent. I've actually had dispatches from either side of the Atlantic this morning, which is interesting in and of itself. But we're also going to talk about the multiple interesting choices that Cynthia is currently making in terms of her career trajectory because she does seem to be very consciously tethering herself to the theme theater world, even though she is now known more broadly and works on screen. As I'm saying all of this, though, I'm also very curious to hear what you think. Are you excited about this? Will you be getting tickets? Will you be traveling from far and wide? Let me know your thoughts. And as always, if you enjoy listening to what I have to say and you want to stay up to date with all of the latest West End and Broadway news, as well as all of my own theatre reviews, make sure you're subscribed right here on YouTube. Turn on those notifications so you don't miss any of my, at this point, daily videos or follow me on other social media or podcast platforms. For now, though, let's talk about it. Cynthia Erivo playing everyone in Dracula. So let's begin by talking about the production. Like I said, this is from the very same team who brought to you the Picture of Dorian Gray. So here's the official wording. Producers. Michael Castle, that's an Australian producer of the Michael Castle Group, and Adam Kenwright, he's a British producer, today announced that Sydney Theatre Company's acclaimed production of Dracula, this has already been staged in Australia, just like the Picture of Dorian Gray had been adapted and directed by visionary theatre maker Kip Williams, will premiere at London's prestigious Noel coward theatre in February 2026. Kip Williams, who is now of course a Tony Award nominee, who also adapted and directed the Picture of Dorian Gray. Interestingly enough, the Picture of Dorian Gray was ruled by the Tonys committee to be considered as a new play. It wasn't nominated alongside the admittedly brilliant new plays of the season, but had it been nominated, Kip Williams and Oscar Wilde would have been jointly recogn as the writer. So Oscar Wilde could have been a nominee for best new play in 2025, which I think is funny. In any case, this production has already been produced in Sydney in Australia. And just like Dorian Gray, it's going to have that same trajectory. It's going to London next, not at the Haymarket this time, but at the Noel Coward Theatre, February 2026. Which off the top of my head, I think leaves us a little bit of a gap as to what's going into the Noel Coward between now and then. Although maybe that's already spoken for. Where's Punch going? Is that where Punch is happening? It's set to begin performances Spec on Wednesday 4th February 2026, which is interesting because that sort of makes it seem like it's not going to make the Olivier Awards cut off for this current season. There were a couple of plays that did that this year as well over in New York. They really pay attention to when the season is ending. And so you have all of these shows opening in the spring and literally around a dozen shows will open in April, right up to when the Tony Awards eligibility cutoff date is here in London, you know, shows tend to open fair, evenly spaced out all year round, and high profile shows will even open in the days following the cutoff window. For example, this year, Richard II at the Bridge with Jonathan Bailey. Also Much Ado About Nothing with Tom Hiddleston and Hayley Atwell. They both opened like within 48 hours after the Olivier Awards eligibility ended. So unless they open this one really quickly and have very few preview performances or unless the cutoff date is later than it was next year. I imagine that if this is going to make a splash at the Oliviers and you have to assume that it might, that is going to be not in 2026 but possibly in 2027 and hell it could even be on Broadway by then. I think Prima Facie ended up doing something a little similar where its Olivier Awards and Tony Awards wins for Jodie Comer were pretty much back to back. For those of you interested in tickets, tickets for Dracula will go on sale later in the year with details and wait list available@draculawestend.com but of course the headline news here is that this is going to star three time Oscar nominee and Tony Emmy and Grammy Award winner. She has an Eggtown no o Cynthia Erivo who will play 23 characters in this innovative one actor adaptation of Bram Stoker's renowned novel. We know how this is going to work because we've seen it with Sarah Snook in the Picture of Dorian Gray. If you're curious about that production, and particularly my thoughts on it, I have done a full review of that play when it was staged in London last year that you can go and check out here on YouTube or on podcast platforms. But essentially what it is is a single performer in that production, Sarah Snook more or less reading the novel the Novell as is, with the production around her becoming more and more elaborate. And you know, she's the lone actor on stage. But that isn't to say that she is alone because she's joined by an incredible team of stage managers and assistant stage managers and a whole crew coordinating this circus that is happening around her. They make extensive use of screens and cameras far more intricately than in a production like Sunset Boulevard, which does fantastic work on this one single giant screen. The Picture of Dorian Gray has multiple screens moving around different kinds of screens, different orientations, achieving different mind boggling things using different camera techniques. On stage there are moments where Sarah acts alongside pre recorded versions of herself in different costuming. She is live recording herself and editing that version of herself on like a face tuning app while we see the results of it while delivering a monologue. It's a really visually striking, breathtaking production that is incredibly clever, remarkably cle clever and hugely innovative and creative and really speaks to, I think this next phase of where theatre is going and this use of technology at the same time. My biggest criticism of a production like this is that I do find it a Little bit emotionally alienating, both because, you know, it has the capacity to leave us a little bit cold, but also because it puts so much in between us and the performer. And for a lot of people, you know, you go to a live theatrical experience like this and you feel as though you could have achieved the same thing staying at home and watching tv. Tv. I've heard that from more than one person. Of course, to see this realized live and in real time is remarkable in and of itself. But there are moments, there were moments in the Picture of Dorian Gray when we can't see the real live Sarah Snook. We are forced to watch the screens because she is off stage or concealed somewhere. I had a handful more thoughts about the production, both exceedingly positive and some critical as well. I will be intrigued to see how this production with Cynthia is doing. Dracula Compares. I've had a look briefly at some production images from the Australian production. Had a scan through a couple of reviews, but I don't want to make myself too familiar with it. It does seem as though, however, it's going to be largely similar and in fact, do we have further creative team information available here? Yes. This production reunites Williams with his award winning creative team, including Olivier award winning designer Marge Horwell. Lighting designer Nick Schleep at Those costumes, by the way, were stunning for Dorian Gray. And if Dracula means we get like a more gothic version of that, I mean, you know that Cynthia loves to wear clothes. I think that's going to be very exciting. And also, who among us doesn't enjoy wearing clothes? But you know, she, she does a really great job at it. Lighting designer Nick Schleeper, composer Clements Williams and sound designer Jessica Dunn. Video designer Craig Wilkinson and dramaturg Zara Newman, which is actually very interesting because that's not the first time I've heard that name today. Zara Newman is the Australian actress who did this show in Australia, who originated apparently the role of Nabulungi in the Australian production of the Book of Mormon and who then performed in Dracula. We'll circle back to her when we're talking about the Cynthia of it all. But interesting that she's being retained by the production on its West End transfer as a dramaturg. Now, when Dorian Gray transferred from Australia to the West End, my understanding is that the actress who was originally attached to the production found herself embroiled in a little bit of controversy. And so that made it easy to pivot to Sarah Snoop, who admittedly has a much bigger international profile. Same thing with Cynthia Erivo, not unlike the Jamie Lloyd's of this world. They seem to know how to tether themselves to a big star. And that's what's going to get you the West End and Broadway. I wonder, though, because she will have played the role before if Zara Newman is going to be retained by the production as an understudy. A few more words here on the ethos of the whole thing. Fusing live video, pre recorded film. So again that will be included and virtuosic live performance. Dracula continues Williams groundbreaking exploration of cine theater. A hybrid form shaping the theatrical landscape. And it certainly does. We actually have a little quote from director and adapter Kip Williams here. He says, I'm thrilled to be returning to the West End to direct my adaptation of Bram Stoker's Dracula and to collaborate with the extraordinary Cynthia Erivo as she brings to life the many iconic characters of this much adored tale. Our production expands on Stoker's exploration of the tension between fear and desire, offering a contemporary perspective on the vampire as a monster that lurks not beyond, but within, which sort of seems to go more in the direction of Jekyll and Hyde. But I'll let that one lie. I am to reunite with many of my Dorian Gray collaborators on this project. And it is an immense privilege to have such a singularly gifted artist as Cynthia at the heart of it. Isn't it just. I can't wait to share this piece with London audiences, especially in the West End, a place where Bram spent so much of his creative life. You don't think about his name being Bram. Like Bram Stoker, cool gothic author Bram. Like, like Bram. Are you coming down for dinner? Like Bram? There's. There's lunch on the table. That really doesn't hit the same way. We also have some words from producers here. Michael Castle says, it's incredible privilege to bring everyone's. Privileged, everyone's very grateful. To bring Kip Williams visionary production of Dracula to the West End. Led by the incomparable Cynthia Erivo, artist of extraordinary power and presence. And Kip's bold approach to this iconic story will offer audiences something truly unforgettable. I dare say it will. I'm so excited for London audiences to experience the thrilling synergy between Cynthia's extraordinary flair and Kip's groundbreaking storytelling. This production represents everything we love about theater. Daring artistry, breathtaking performance and a deep connection with audiences. Interesting. Adam Kenright has this to say. Oh, my God. There's more statements. The West End has long been home to some of the world's most exhilarating storytelling. And I am so proud to help bring Dracula and this remarkable team to London. Cynthia Erivo is a once in a generation talent. That's the second time I've read that today in a press release about completely different performers. And I think, you know, perhaps it's an overused phrase, but Cynthia remarkably talented nonetheless. And Kip Williams has reimagined this classic story with innovation and emotional depth. I would like to see it. Cynthia's return to the stage is a theatrical event in itself. He's not wrong. And this unflinching, beautiful production promises an unparalleled experience for theatre lovers. I like those adjectives, unflinching and beautiful. And I think, in general, before we talk specifically about Cynthia, the idea of, you know, exploring Dorian Gray through, like, a woman telling this story didn't necessarily make as much sense to me or, you know, foster as much intrigue as the notion of a woman exploring the story of Dracula. Because I think women and femininity are so at the heart of this story. The story which inherently poses the question of, like, what would happen to us in society if we were no longer able to guarantee the safety of our women. And I think for a lot of these gothic horror stories in which women are critical objects to the narrative, I'm thinking about Dracula, but I'm also thinking about Mary Shelley's Frankenstein. To have that explored from the perspective of one woman playing multiple male roles and some female roles, I think that is very interesting with Dorian Gray. It sort of just empowers us to really notice the moment where women become objectified in that story. But it happens more infrequently. I think with Dracula, that's going to be a much more interesting component. It's also not lost on me that both actresses cast in the production thus far, unless there are any more that I'm not aware of, have also been women of color. And I hope that, you know, there is some reason behind this. Not that there necessarily has to be, but I think it's very interesting to consider that this might be a specific lens through which they wish to view the story. Now, as I mentioned, I have had this press release from New York and London press offices this morning. And the New York press agents who distributed it represent the Michael Castle Group. They're also working on the Picture of Dorian Gray. And so it doesn't necessarily guarantee that the production is heading to Broadway, but you can sort of assume, I mean, already it's following in the same path. Sydney first, then The West End, you would assume that it's going to go to Broadway. And Cynthia Erivo is one of the few performers who at this point I think probably has equal awareness both on Broadway and in the West End at the same time. This might also be a little bit of Tony Awards campaigning for the Picture of Dorian Gray. You know, it's this limited run revival, but in the sense of this follow up production in the same series with the same creatives, it gives a little bit of a sense of ongoing vision to let you in on a little bit of how the industry works right now. Almost all of the correspondences coming out of New York currently relating to Broadway shows, almost all of them are some kind of Tony campaigning. This play revival just made a box office record and completely recouped. Well, this one did it faster. This one's going on a US national tour while we're releasing a cast recording. While we're doing this. That's basically what's happening here. And there's more news coming out later today from what I hear, that is also, you know, going to be similarly focused on trying to win Tony Awards. Let me just hop over to the London press release and see if that had anything different to say. I dare say it didn't because really they're all just coordinating the same statements here. Oh, it does mention that Dracula is the final and most ambitious production in a trilogy of stagings by Kip Williams. A gothic trilogy which also included the estranged case of Dr. Jekyll and Mr. Hyde previously mentioned, but not one that evidently came over to the West End. Perhaps it will now, who knows? And because this production has already happened in Australia, you can go and research it a little bit further if you would like to. But I think it seems fairly clear that this is going to be a very similar kind of a piece to the Picture of Dorian Gray with one big difference. That is Cynthia Erivo starring. Let's talk a little bit about Cynthia now and why this is so interest. So what's very interesting about Cynthia is that in recent years, since the Wicked casting, recently since getting the role of Elphaba in the Wicked movie, she's really been returning to the theater world. Although this will be the most meaningful stage return in all of that time. But in everything that she has been doing with her personal brand, hosting the Tony Awards is a great example of this. The Jesus Christ Superstar one night concert at the Hollywood bowl that got needless controversy where she's going to sound extraordinary singing the role of Jesus alongside Adam Lambert as Judas in what may be the best sung rendition of that score anyone has ever heard with their ears. Oh my goodness. And of course, with the two part Wicked movie, playing one of musical theater's most iconic characters, Elphaba, on screen in a film adaptation that musical theater fans have been waiting two decades for. But thrillingly, she's not just returning to the stage for the first time, she's returning to the West End stage, which is where her career began, if you don't know. Cynthia is British and she sort of ignited here and then had her biggest success with a Broadway transfer of the Mini Chocolate Factory production of the Color Purple. She won a Tony Award there and then sort of went on to continue her career in New York and in the US and made the transition quite quickly from the stage to the screen. And this is where she moved away from the realm of theatre a little bit. But now she's coming back and specifically coming back to the West End. I do think it seems like a foregone conclusion that she's going to do this a little limited run in London first and then they're going to take the production production with her to New York because like I said, I think she can sell tickets on either side of the Atlantic at this point. The second Wicked movie will have come out in cinemas by the time we're seeing Cynthia Erivo do Dracula, we will have all seen Wicked Part 2. How exciting is that? I'm very excited. And so, you know, it makes sense that this would be the time she can return to the stage. Her time is her own. She's not doing press tours at this point and she can line up these projects. And I dare say this is happening at this time because of her and because of her availability when you caught a huge star like this, that's how it works. Another project of hers I neglected to mention was the aforementioned Prima Facie, which was a play starring Jodie Comer set to return to various UK venues. One that's been recorded that you can stream, I think from National Theatre at home if they currently have it available. But in a slightly surprising piece of news, it was revealed a little while back that Cynthia Erivo would be starring in the film adaptation and not Jodie Comer. Which, considering, you know, that Jodie Comer does work on screen, was always a little bit puzzling. But it continues a long tradition of the originators of stage shows, not necessarily reprising their roles on on screen like Gwen Verdon and Sweet Charity, like Angela Lansbury and Mame. Sometimes they do though, however, like Ben Platt and dear Evan Hansen, all of the above presented without comment. And what Prima Facie has in common with this production of Dracula and with hosting the Tony Awards is prestige. That's the thing that Cynthia Erivo is aspiring to here in all of these roles and these are acting roles. She is an actress not being seen as a vocalist first. And it has to be said, for many of the earliest years of her career in the uk, even when she started to play lead roles, it was very vocally driven and it was the kind of roles that are offered to very vocally talented young black women. She was doing Sister act and she did Songs for a New World and she did the Color Purple, which is sort of the biggest and best role that you could get within that particular shoebox of roles that the industry expected to see a black woman play. And it seems as though since then, and particularly since the Wicked casting, she's been more interested in, interested in breaking through those barriers and playing roles not previously available to her, becoming one of only a handful still of black actresses to play Elphaba. Of course, there was extensive conversation about Cynthia taking on the role of Jesus in what I'll remind you is a one night concert version of Jesus Christ Superstar. Truly not that deep, but that certainly is a role that she would not have traditionally been able to play. And I think Dracula is part of that same conversation as well. It's also going to be such a feat of acting and performance. I'd be curious to know whether there is any singing with the production in Australia. Having starred, you know, Australia's original Nabulungi, they have incorporated music before. Sarah Snook lip synced to a song. I wonder if Cynthia Erivo is going to sing a little bit because, you know, this is a play return. This is not a musical theater return. This is not the expected thing for her to do. Everyone's been saying, oh, her and Ariana are going to go into Wicked on Broadway. And that was never going to happen happen, nor I think, do we want it to happen. Because by that point we will be very used to the expanded, nuanced version of the characters that they've been able to give us in a much longer two part film adaptation. I think their performances of the Broadway material would feel more rushed and a little less special, but it would not have been beyond the realms of expectation for Cynthia Erivo to return in a Broadway musical or a West End musical even. And that's not what's happening here, which doesn't really surprise me because of the way that she's been pursuing her career thus far. And I guess all that really remains for me to say here is whether or not I think this is going to be an exciting piece of theater and a good piece of casting. And I really do. I think this is going to be every bit as stunning as the Picture of Dorian Gray and maybe more so. I think Dracula is a story like excusing the recent Off Broadway and London comedy version of Dracula, a comedy of terrors. I think that's been a little less explored theatrically at least. I haven't seen as many interpretations as something like the Picture of Dorian Gray. I think the one person perspective, particularly with Cynthia being that one person, is immediately intriguing and exciting to me. I think the stakes are a little bit higher in the Dracula story versus something like the Picture of Dorian Gray. And yet my concern is the cameras of it all and the screens of it all. As I said with Sunset Boulevard, what side of my hat is the writing on? It's somewhere, as I said, with this production currently atop my head, this makes sense for me because. Because it's the natural language to tell this story, the story about Hollywood, this story told from the perspective of a screenwriter, about a woman whose, you know, kind of psyche is still trapped within the cinema screen. With the Picture of Dorian Gray, there's an element of that as well. How in a modern context do we envision this story about someone whose image is trapped in a haunted painting and aging while they don't? Well, to use a smartphone and face tuning apps and screens and close up cameras, Cameras, that kind of is in conversation with that story. With Dracula, it's a little different. I mean, here you have these fantastical creatures who allegedly can't be seen in mirrors. Their reflection can't be captured. So I think a little bit of legwork is going to need to happen here, I guess is going to need to have already happened in the production that's already taken place in order to justify the use of cameras and screens on stage. And I gather that the show has been well reviewed in Australia. I don't think they'd be bringing it here here if it wasn't. At the same time, I think this is a gimmick and a shtick that we see an awful lot more of currently in the UK and in the US And I think it really has to prove itself. And I will be very intrigued to find out if it does. Now, of course, when this production rolls around next February, I will do my best to bring you a full Review here. On YouTube as well as on podcast platforms. I will bring you any other updates about this in the meantime, but make sure that you're subscribed with those notifications turned on so you don't miss that video when it comes or following me on podcastplat platforms. Thank you so much for listening to this stagey news recap. As always, let me know all of your thoughts about this in the comments section down below. Who's planning to get tickets? What do we think about this? Is there anyone from Australia who has had the chance to see this production already? I would love to hear some more about it. In the meantime, I hope that everyone is staying safe and that you have a stagey day. For 10 more seconds, I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a Stagey Day. Subscribe.