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Mickey Jo
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- [01:37]
Mickey Jo
At approximately two hours without an interval, the new West End production of Dracula, starring Cynthia Erivo in every single role, is more defying brevity than defying gravity. This bold and tech heavy new work from theatre maker Kit Williams is already proving as bold and divisive as his last the West End and Broadway production of the Picture of Dorian Gray. And having had my fair share of misgivings and mixed feelings about that production, the question for me as I sat down to watch Dracula this evening was am I going to like this any better? And now that this one of the buzziest new shows of the year has finally opened, I cannot wait to sink my teeth into it. But before I do, a quick introduction to me for those of you who may be meeting me for the very first time. Oh my God. Hey. Welcome back to my theatre themed YouTube channel or hello to those of you listening to this on podcast platforms. My name is Mickey Jo and I'm obsessed with all things theatre. I am a critic and content creator here on social media and I review the shows that I get to see around the world. Evening. It is all about Dracula. Currently playing at the Noel Coward Theatre starring the multi award winner Cynthia Erivo. In her major return to the West End stage for the first time in many years, she has become well known recently for playing the role of Elphaba on screen in the film adaptation of Wicked. But before she became a global star by way of the Broadway stage and Tony Award winning success, she was a rising star of the British stage, where I saw her for the first time as Dolores Van Cartier in a touring production of Sister Act. Now Cynthia is back as a star name doing prestige work like this, playing every role in a new stage adaptation of Bram Stoker's Dracula. And there are many parallels with director and adapter Kip Williams recent production of the Picture of Dorian Gray starring Sarah Snook. The approach to each is largely the same, with a single performer on stage surrounded by a technical team including dressers and camera operators relaying live footage to screens alongside pre recorded footage, with the production star in each instance largely reading the book verbatim on stage. And so in this review there is plenty for us to talk about. In addition to my feelings about this production, whether or not I was emotionally moved by it, whether I thought it was a better fit for this particular stylistic approach than Oscar Wilde's the Picture of Dorian Gray, as well as exactly what it's like as an audience member to experience this kind of post theatrical creativity, this thing that barely even feels like live theater anymore because the most significant emotional connection you're forming is with a screen rather than a human being. Lots to say about this play, which I'm certain will prove very polarizing. I anticipate there being a whole spectrum of critical responses and I am very curious to hear all of yours as well. If you have had the chance to see Dracula already, please share your thoughts and feelings in the comments section down below. And as always, if you enjoy listening to mine, make sure you're subscribed here on YouTube or following me on podcast platforms. There will be more reviews, they will be very soon and I cannot wait to share them with you, but in the meantime, let us talk about Cynthia Erivo in Dracula. Now. Ordinarily, when discussing a piece of theatre, I would begin with the plot and that kind of an overview. And with this production and with productions in this style, I think it makes more sense to talk about the camera work and the direction and the approach to storytelling because it does sort of overtake the actual narrative itself, which I guess is something of a damning criticism. In each instance. Thus far when I've seen Kip Williams work, it has been more about how the story is being told rather than the substance of the story itself. But what I will say is that I thought this lent itself more to Kip Williams particular style than the Picture of Dorian Gray, I think because it felt as though there was more of a purpose for this cinematic construction that we were making. The screens themselves were also different. This more closely resembled Jamie Lloyd, Sunset Boulevard as an example. I know that he is a director who everyone sort of credits with the use of cameras on stage. In truth, it goes back further beyond him to European theatre makers like Ivo Van Hove. Interestingly, Jamie often frames the work that he does technically as a means of really exposing and investigating the text and the meaning of the whole thing. And I think with Kip Williams work, it does more to sort of get in the way of it, just from a logistical perspective. It does sort of add in this additional barrier between audience and performer. And for those of you who go to the theatre in order to experience that human connection and would enjoy a piece of theatre where it's simply, you know, one actor sat on a chair portraying all of these different characters without going to the extreme technical lengths of the production like this does, if that is your preference, then you probably aren't going to enjoy a piece of theatre like this. But I do think that it is, in its own way, staggeringly impressive, creatively rich and quite remarkable. I would call it more of a post theatrical art. And I critic Dorian Gray for those moments where Sarah Snook disappeared completely. And I said, I think at the time we may as well be sat in a cinema. There is nothing theatrical about this. And Dracula pushes it even further. But because of that consistency of approach from the beginning, because our attention is so consistently directed towards the screen, I felt as though I minded it less and I felt as though I was able to develop a more substantial emotional connection to the story being told through the screen. In fact, it reminded me of the work done by a theatre company called Manual Cinema, who use shadow puppetry and various different techniques on stage to create a story being told on a screen. The understanding is that the narrative is entirely going to be told through that screen. But you can see that it's being constructed down below and you can look at those techniques and you can admire the craft of the whole thing. But what they really want you to look at is what's happening up there. And there's no shame in that. It's just a different, different way of telling a story. It also makes me think of music, concert performances in stadiums and like the Eras Tour. You're gonna probably look at the Taylor Swift that's actually down there on stage. But unless you're really close to it. You're also going to have the best view of her facial expressions by looking at the giant screens. And you know, you can still appreciate that the whole thing is happening live. There is still, even in spite of watching it on screen, that sense of live performance. And I think Dracula has the same thing. For what it's worth, though, for the vast majority of the production, Cynthia's attention is directed towards the cameras that are capturing her and relaying her performance onto those screens. And the emotional spectrum of her performance is sort of more played for camera than a broad theatrical auditorium. And within this storytelling approach there were positives and negatives. It is being talked about a lot that Cynthia is playing every single role in this story. And at one time or another she has. But in a live sense she is only really substantially portraying about about five of these characters. The rest of them are Cynthia pre recorded. And she acts alongside renderings and pre recorded footage of herself, which for the most part is overlaid with her live performance brilliantly. Well, there are occasional issues of dialogue interchange between live Cynthia and the ghost of Cynthia Erivo Past, wherein she isn't quite able to time her line delivery with exact precision. And the past version of Cynthia might interrupt her a little bit or just jump a cue. There are also a handful of moments of forced perspective, either when Cynthia is on screen overlaid with prior versions of herself, or when Cynthia is stood in front of a screen. That one is slightly less effective. It becomes a little more like Unconvincing ABBA Voyage. But generally speaking, the combination of Cynthia Present and Cynthia Past is done quite convincingly. And it's a success of lighting and exact framing. That's one of the really incredible things about the camera work in this production, is how exact the placement of everything has to be. And it gives way to some really stunning moments of cinematography, if we can still call it that. The exactness of location and angle and lighting that is achieved through the precision of this multi person operation is astounding to bear witness to. It's as fantastic, fantastic to watch how they are bringing this about as the actual product of the thing itself. And that's an aspect of these productions that I don't think necessarily gets enough credit. But like I said, some of those shots are just gorgeous. Every time Cynthia is framed amongst a piece of scenery, there isn't an awful lot of scenery brought on stage. But occasionally there will be a gravestone or Cynthia will be shot just above something. There are at any given time, usually a couple of camera operators on stage so that they can cut between different feeds and show different perspectives. This per Kip Williams style sort of begins in a more low key way and becomes increasingly detailed and dexterous and complex as the production continues. We begin on a relatively bare stage with Cynthia simply being filmed via an overhead camera overlaid with versions of herself thrashing and moving away. Which is a really great introductory shot, sort of framing the entire narrative as human wrestling with their inner demons and tormented by these different versions of themself. All of which I think does an awful lot more to justify the one person version of the Dracula story than we ever had with Dorian Gray. My absolute favorite bit of camera work there was the depiction of a storm. And at one point this enclosed circular set is brought onto the stage. Inside it is brilliant white and there is a small opening that we can occasionally glimpse into. But often the camera operators will move inside of that space with Cynthia and we watch it relayed on screen. But during this storm sequence it revolves and Cynthia hangs out of the doorway and these camera operators sort of run around the circumference of it, but the feed moves between them and there is this whiplash inducing effect of pace and energy and it's frenetic and it's exciting and it's all very dynamic in terms of evolution between the different projects. There were more screens and they did more interesting things in Dorian Gray. This is for the most part just a single wide cinematic style of screen. But the use of cameras, I think has become a lot more interesting. And we mustn't attribute all of the creative work solely to Kip Williams. He is working with many brilliant collaborators, including the award winning costume and set designer, Marge Hallwell, whose work is just as stunning on this production. Many a lace front wig, many a cravat. And is instrumental in helping us to identify and separate the various characters which Cynthia is portraying. We also have to give an enormous amount of credit to Craig Wilkinson, who is the video designer, in conjunction with Nick Schleiper's intense and atmospheric lighting design, plus the work of composer Clements Williams. There aren't sung moments as such, but much of the thing is underscored with increasing tension, brilliantly brought about by sound designer Jessica Dunn. Of course, the beating heart of this collaboration is the performance of Cynthia Erivo, which we are going to talk about. But before we do, let's talk a little more about the material.
- [13:10]
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Mickey Jo
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- [13:15]
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- [13:17]
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- [15:00]
Mickey Jo
Now, I have read Bram Stoker's Dracula a long time ago, and a couple of weeks ago I started rereading it in order to acquaint myself fully with the story, even though it was about to be read to me on stage. Because this is scarcely an adaptation. Kip Williams is credited with the adaptation of the work, but it's really just a partial abridgment. It is, for the most part, Cynthia, reading the Dracula novel verbatim, and I've seen some criticism online of people saying that it ought to have been reduced. I hate to tell you that it has. Significantly, there are various sections of Jonathan Harker talking about local Eastern European cuisine that have been mercifully cut out. What this doesn't do is what dozens of Dracula adaptations have done in the years since its publication, which is to romanticize the thing. And we owe Bram Stoker in this story an enormous amount of credit for all of the vampire stories that we have gone on to tell since and for the lore of the whole thing. And for, you know, first using, I suppose, this metaphor in order to talk about inner demons and giving way to desire and lust basically, as well as all this stuff about women in society and adultery and the fears of men that they couldn't protect them against these mysterious evils. And so blood sucking credit, where blood sucking credit is due. But the thing about Dracula on the page is that it isn't quite as romantic or as dramatic as you might expect it to be if you have only seen film adaptations or indeed play adaptations. I've seen various different versions of Dracula, some of the musical, some of them comedic over the years, and they almost all streamline the characters who we see on stage. They offer us one central protagonist, usually in the form of Jonathan Harker, in spite of the fact that he goes walkabout quite early on. They also give the audience what they want in terms of drag. Dracula himself, offering him an awful lot more stage time. He is mostly just talked about in the novel and we don't get to spend that much time with him, which is probably the biggest bummer of Dracula in the West End right now. We kind of just want more Dracula time. I know I do. Anyway, no, in the stage version, as per the novel, we spend the majority of our time experiencing this story from the perspective of Jonathan Harker initially, subsequently MINA and then Dr. Jack, who does just sort of arrive without a particularly substantial introduction, and who bears something of a similar similarity to Jonathan, which could prove a little challenging for an audience. In productions like this, we benefit from really distinct disparate characterizations. You also, I think, start to understand why so many Dracula adaptations have extrapolated the story a little bit and have offered us more insight into Dracula's seductions and his own agenda and him as a character and more of these romantic scenes, because we allude to an awful lot of it. And it's all in there thematically. We just don't spend that much time with it. And pardon the vampiric pun, I don't know that this production necessarily found a way to really strike at the heart of these themes, especially when romance and gender roles is so embroiled in the Thing. And it's difficult to talk about that when every character is played by the same performer, only able to play against themselves on screen, which is technically impressive, but lacks the capabilities of genuine chemistry and connection. And so much of the Thing is tense exposition. We eventually build towards some payoff and revelation and. And finally some thrilling drama and pursuit. But it does spend an awful lot of time alluding to details that we can already predict and understand because of how acquainted an audience now is with vampiric lore. And yet I do maintain that something about this worked an awful lot better, as I said, than the Picture of Dorian Gray, I think, because it had that sense of thrill and tension and darkness and this sinister quality throughout. And in terms of it being a piece of cinematic storytelling, being impressively created live in front of you, I think that lent itself a little more to the format, even if it begins not to feel like theater anymore. Like I mentioned, there was some abridgement of the text. I do think there could have been even more, especially in the middle. And once you hear Cynthia sing even those couple of lines that she does towards the end end, you kind of retroactively wish that there had perhaps been more music throughout the thing. I think I would rather that as a means of allowing for intakes of breath in the audience amongst all of the suspense, rather than the occasionally possibly deliberate moments of slight comedy arising from Cynthia appearing on stage in increasingly preposterous facial hair. At which point my thoughts on this central performance are very much overdue. Let's talk about Cynthia. Arise.
- [19:51]
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- [19:53]
Mickey Jo
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- [19:56]
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- [19:58]
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- [20:55]
Mickey Jo
Now. In performances such as these, my question is always going to be why one person? What is the benefit of allowing the story to be told by one person, other than the sheer theatricality of this act of storytelling? As if we're going all the way back to the notion of a parent or a grandparent telling you this story and giving voice to all of These different characters, or the way that audiobooks used to be read before they had entire casts of film stars who apparently need a paycheck. And in this staging of Dracula, which originated first in Australia before being remounted for Cynthia Erivo, my question is also why, through a specifically feminine lens, why a female performer playing all of these roles? I didn't particularly understand it with Sarah Snook and the Oscar Wilde story that she was telling with Dracula. I think there are more footholds in terms of what you investigate in the material by having all of these characters be portrayed by a woman, because of the way that it places the female characters within the story, because they eventually succumb to the darkness of it, because they are. Are victims inherently. But also, there is something so fascinating about Cynthia as a performer and the extent to which she is able to convey this sort of genderless sense of humanity. That is the real blank canvas starting point of this performance. And you notice it when she depicts Mina for the first time. You notice this sudden infusion of femininity. I also think, beyond the inclination simply to do something very technically impressive and audacious and vast and prestigious, that Cynthia is very well suited to this type of material and this type of delivery, because there's a real subtlety in the work that she can do with a high definition camera trained on her face. But also there is such a precision in her delivery. Everything is exact and incredibly purposeful. The way in which she uses her voice, the way in which her eyeline shifts, the way in which she places her hands, the way in which she walks. There is something so decided and exact about the way in which she moves on stage. She is incredibly composed and poised, and there's something utterly calculated about the choices that she is making. And for a production like this, which relies on her at almost every single moment, being in exactly the right spot and moving exactly the right way, it requires a performer with that level of control and dexterity. At which point, while acknowledging that Cynthia is doing an awful lot of heavy lifting in the show, it'd be unthinkable of me not to mention all of the brilliant individuals who are on stage supporting her, including camera operators and dressers. I'm just going to mention almost everybody in the production team, just in case, because I'm not entirely clear who makes it onto the stage and who doesn't. But the company manager behind this technical marvel is Harriet Stewart. Nikki Barrett is the stage manager. Vicki Eames is the deputy stage manager with Freddie Daniels, Rose Dian and Pfizer Ibrahim Jones as assistant stage manager. Marcus Kolick. Vicky Matranga and Benjamin Sheen are the camera operators doing extraordinary, thoughtful and precise work on stage. With Sam Carver as vision supervisor, video operator, India Day focus puller Flynn Melhaupt. I have no idea what all of these roles are, but clearly they're very important. Karina Olson is on automation. Elliot Roberts is sound number one. Rafaela Pancucci is on sound number two. Lighting number one is Alex Walton. Sean Dupont is technical. Nicole Swing. Nicole Ashwood is head of wardrobe. Head of wigs, hair and makeup is Sophia Khan. Wardrobe and wig swing is Lily Yates. And Roxanne Ivy is a dresser. Because that's the other thing that you see on stage. Cynthia being changed between wigs and costumes by dressers. She begins in this state of aesthetic neutrality and then it sort of becomes more and more contrived and then gradually pares down towards the end. We sort of ease our way into the to full theatricality and then we slowly decelerate out of it. And it isn't just the wigs and costumes which allow us to understand that Cynthia is portraying different characters. She also commits to distinctly different characterizations without allowing them to become broad and animated. It's the moment when she started playing Mina and Lucy for the first time that really surprised me because I wasn't anticipating that pronounced a shift into femininity. And I love the way in which she characterizes Dracula. Dracula is performed with, I believe, a Nigerian accent. And I so wanted there to be more moments when Cynthia is portraying Dracula live on stage because I thought it was fascinating and I wanted to experience more of her in this role. But between there being fairly little Dracula in the narrative and a lot of Dracula's appearances being part of the pre recorded scenes, I didn't get as much of it as I wanted to. There were a couple of other accents that weren't as entirely convincing. Van Helsing's Dutch was sort of neither here nor there. But the Irish accent for Renfield, it grew on me a little bit more. It was actually better live than in the pre recorded version. I think I can only assume that all of the pre recorded scenes were done on set on stage to try and give way to exact parity with Cynthia then being overlaid into them. And you know, it's very easy to pick apart something like this. But you do have to sort of zoom out on the whole thing and consider what an extraordinary undertaking it is. If you were to ask me to memorize even a page of Bram Stoker's Dracula I think I would struggle. And yes, people have performed one person plays and long monologues from memory before, but there's something significantly less intuitive about a classic gothic horror novel like Dracula. It is hard to read. Which brings us to something else I want to acknowledge, which is some of the commentary that had arisen during previews about the possible existence of teleprompters. Now people were coming out of those preview performances and saying that there were auto cues that were visible on screen that were being picked up by these cameras, and that did not happen at this evening's final preview performance. There was, I believe, some cueing happening on the screens that would often have like conductor cams on the dress circle level behind me, so that Cynthia could perhaps receive prompts from those. When looking out into the auditorium, which admittedly she did not do on that many occasions, she is mostly staring down the barrel of a camera being pointed at her face at close range. But I also, perhaps controversially, have no issue with a performer receiving cues when they are performing a two hour monologue. I tend to think of it like the running of a marathon. I don't think it stops, stops counting if somebody pauses at the side to have a drink and, you know, get some electrolytes and eat a gummy bear. Because it is so challenging to pull this off. It's not just about delivering this entire thing by yourself as a solo performer. It's about standing in exactly the right place and looking at exactly the right camera as you do it, and shifting your focus between a handful of different cameras and then having a team arrive and put you in a different wig, remembering which characters you're portraying, responding to yourself, pre recording in the past, doing all of this at the right pace because there are music cues, because there is pre recorded dialogue that you have to align perfectly with. There is such a level of precision required here. Continuing with that marathon analogy, there were moments of hesitation and some slight stumbling around the delivery of a couple of words, but never anything tantamount to a collapse, making this one of the more remarkable stage performances that I've ever seen. And there is a moment towards the very end. If you don't want this spoiler, you can skip ahead. When Cynthia arrives and is revealed in this gorgeous red coat and sings a couple of words, this sort of same repeated phrase that ascends into a higher and higher melody. And you recognize in that split second of a moment the real star power that she has, particularly when she is singing. And so you long for a little bit more of that. And you know, I'm excited when people become huge stars and then return to the theatre. I would be even more excited if they continue to do musical theatre rather than just doing prestigious plays. But it's a very impressive stage return. It's a very impressive performance. All of this being said, I am acutely aware of the fact that this production of Dracula isn't necessarily going to be to everyone's terror taste. I mean, it's delivering something that is perhaps just really contrary to the reason why a lot of people go to the theater in the first place. And certainly if you love Cynthia Erivo from the Wicked movies and that's the reason why you want to go and enjoy her on stage, then elements of this production may offer you something of a rude awakening. I still think it's incredibly thrilling and exciting and fascinating as this, as I've come to refer to it, post theatrical piece of art. I'm not suggesting that all contemporary theater ought to move in this direction. I also think it's something of an overreaction when people suggest that it will and say, I don't want all productions now to have cameras and screens. Rest assured they don't. The mousetrap continues to run and there are plenty of valid questions I'm still considering about this. Why Dracula with cameras in the first place? Why force a performer to undertake this sort of herculean theatrical task? Is there sufficient reward in doing so? How much of it is just about being wildly impressive? That being said, though, contrary to my expectations, I did find myself really emotionally invested in this. I thought it was compelling. I thought it was dark and mysterious and visually sensational. If you are someone who is interested in pursuing a career in technical theatre, I think this is a brilliant piece for you to go and watch. You can can see the mechanism and organism of live theatre unfolding live on stage in front of you, rather than being relegated to the wings and backstage as it usually would be. Needless to say, if you've enjoyed previous work with a similar theatrical approach, I think that you would enjoy this as well. And if you have already seen Dracula, I am so intrigued to hear what you thought of it. I anticipate this being hugely divisive. So let us know how you felt about this production in the comments section down below. Those have been all of my thoughts. I hope that you enjoyed listening to them. If you did, and you would like to hear more of my reviews, then stay tuned for many more coming soon. Make sure you're subscribed here on YouTube or following me on podcast. Platforms. I have been Mickey Jo and as always I hope that everyone is staying safe and that you have a stagey day. For 10 more seconds I'm Micky Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe.
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Oh right.
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