At London’s Noël Coward Theater, Cynthia Erivo captivates audiences in a dynamic, one-woman adaptation of Bram Stoker’s classic ‘Dracula.’ Dressed in a simple tank top and pants, Erivo transforms into 23 distinct characters, augmented by an array of wigs, period costumes, and innovative live camerawork. A dedicated crew records her every move, broadcasting it onto a massive screen, often displaying multiple Erivos simultaneously—a true theatrical marvel.
This unique production, skillfully adapted and directed by Kip Williams, runs through May 30 and marks a significant return to the London stage for Erivo. Known globally for her roles, including her Broadway breakthrough in ‘The Color Purple’ and upcoming ‘Wicked’ films, Erivo’s commanding performance is undeniable. She masterfully navigates the demanding shifts between characters, even overcoming a few opening night jitters.
This is not a blood-and-gore ‘Dracula.’ The darker elements of the story are conveyed through vivid narration, creating a sense of dread without explicit violence. The narrative unfolds at a brisk pace through a series of epistolary accounts, beginning with lawyer Jonathan Harker’s journey to Romania to assist the titular Count. Erivo imbues Dracula with a chillingly placid demeanor and a distinctive Nigerian accent.
Despite her background in musical theater, Erivo infuses ‘Dracula’ with a surprising vaudeville-like charm. Her knowing glances to the audience and the humorous introductions of her various ‘co-stars’ often elicit laughter. Lucy Westenra, played by Erivo in a platinum blonde wig, transforms into a vampire, while her three bumbling suitors appear with an assortment of beards and mustaches. Even Professor Van Helsing’s attempts to deter Dracula with an absurd number of garlic wreaths add to the unexpected mirth.
This blend of horror and humor presents a tonal challenge. The production oscillates between attempts to genuinely frighten and a lighthearted send-up of the horror genre, never quite settling on a definitive tone. While director Kip Williams’s previous works, like ‘Dorian Gray’ and ‘The Maids,’ found clear thematic resonance with their innovative camerawork, ‘Dracula’ doesn’t quite achieve the same seamless connection. The visual gimmickry, though impressive in showing multiple Erivos, sometimes feels a touch ‘schlocky’—a realm better served by television than the stage.
However, other design elements shine. Marg Howell’s set design is particularly striking, featuring a haunting churchyard filled with chaotic wooden crosses and an arresting heart-shaped doorway. A climax unfolds amidst a dramatic confetti snowscape, underscored by thrumming techno music. Yet, even in moments of high tension, the illusion can break—such as when a smooth-skinned Erivo as Van Helsing sports a stick-on beard, pulling the audience away from the terror. The arch, self-aware tone that suited Williams’s adaptations of Wilde and Genet doesn’t quite translate effectively to Stoker’s gothic horror.
‘Dracula’ holds potent contemporary relevance. Stoker’s 1897 novel emerged during a time of Victorian anxieties about syphilis and women’s roles, and featured xenophobic undertones towards Eastern European immigrants. Erivo’s portrayal of Dracula with an African-coded accent subtly updates this racial dimension, acknowledging her own Igbo heritage. However, the production largely sidesteps deeper engagement with these modern parallels, primarily serving as a platform for the director and star’s technical virtuosity.
Ultimately, the nuances of the production might be secondary to the experience for Cynthia Erivo’s devoted fan base, especially the younger ‘Wicked’ enthusiasts. Their excitement to see her live on stage may well fuel this ambitious theatrical endeavor, perhaps even, metaphorically speaking, ‘sucking their blood by proxy’ and, more literally, their parents’ hard-earned cash.
Dracula
Through May 30 at the Noël Coward Theater in London.