*
Article images courtesy of Mihaela Bodlovi
*
DRACULA: MINA’S RECKONING
“Under the buzzing lights of a psychiatric hospital in Aberdeenshire in 1897, Mina Murray recounts her encounters with the most terrifying of beasts: Dracula. A throng of patients listen with bated breath as they are transported to a world where immortality and ultimate power is possible, even for women – but with terrible consequences…
Not for the faint-hearted, Morna Pearson’s adaptation of Bram Stoker’s classic tale is filled with her trademark humour and taste for the strange and grotesque. This breathtaking gothic production transposes the action to Scotland amid the wild beauty of the landscapes of the northeast which originally inspired the novel. With an all-women and non-binary ensemble cast we witness the addiction, intoxication, and empowerment of Mina.
Miss this contemporary re-telling at your peril…“
Conceived by Morna Pearson and Sally Cookson
Story by Morna Pearson, Sally Cookson and Rosie Kellagher
Additional material devised by The Company
Written by Morna Pearson after Bram Stoker
Directed by Sally Cookson
*
*
In Bram Stoker’s classic 1897 novel, Murray’s fiance, the solicitor Jonathan Harker, inadvertently entangles Mina and her close friend Lucy in the sinister world of Dracula when he embarks on a journey to Transylvania to assist the enigmatic count with a property transaction. However, this new and intriguing adaptation presented by the National Theatre of Scotland brings a fresh perspective to the familiar tale, placing Mina firmly at the forefront of the gothic horror narrative.
*
Here, we are offered a distinctive North-East Scottish twist to the narrative. It unfolds within the atmospheric corridors of a psychiatric hospital situated in Aberdeenshire during the year 1897. Through Mina’s perspective, audiences gain a deeper understanding of the events that transpire, casting the young woman as a central figure in the unfolding drama. Accompanying Mina on her journey is a diverse ensemble of asylum inmates, led by a non-binary rendition of Renfield, the Count’s loyal deputy.
*
*
The story’s reimagining is a masterstroke in this adaptation of Bram Stoker’s masterpiece, exploring themes of madness, desire, and female empowerment. By placing Mina at the centre of the action, the performance sheds new light on her strength, resilience, and determination in the face of the formidable Dracula. Audiences are transported back in time to the late 19th century, where they are immersed in the eerie atmosphere of the psychiatric hospital, witnessing the unfolding events through Mina’s eyes.
*
*
As the story unfolds, Mina’s reckoning with the enigmatic count delves into the realms of psychological suspense and Gothic horror. The production artfully weaves together elements of fear, romance, and mystery, captivating audiences with its richly imagined world. With its Scottish backdrop, the adaptation pays homage to the country’s literary heritage while offering a fresh interpretation that invites viewers to question traditional gender roles and perceptions.
*
The only slight misgiving I have is in the play’s narrative. For the most part it is passionate and sparkling – however there are periods when the narrative becomes a little sluggish and loses energy. There is also an unevenness in the inclusion of some comedic moments, particularly in the wordplay. If the intention was to show the deliciously acerbic sense of humour that this part of the world employs, then it succeeds handsomely. However I have always struggled with the combination of horror and comedy and there were time I found some of comedic touches detracting from the atmosphere being created,
*
*
The cast features a hugely talented all-women and non-binary ensemble, with each member bringing their unique skills and perspectives to the production. Aberdeen-born Danielle Jam takes on the role of Mina, a captivating and complex character whose journey weaves throughout the storyline, engaging the audience in her compelling narrative.
*
Joining her is the exceptional Ailsa Davidson, who brings depth and charm to the character of Lucy, Mina’s best friend. Davidson’s portrayal of Lucy is infused with a delightful blend of wit, warmth, and vulnerability, making her a truly memorable character in the production.
*
Finally, we have the remarkable Liz Kettle, embodying the iconic role of Dracula. Kettle brings a commanding presence and a deep understanding of the complex character, captivating the audience with her portrayal of the enigmatic and seductive vampire.
*
Together, these talented performers create a captivating and unforgettable theatrical experience, breathing new life into the classic tale of Dracula.
*
“Dracula: Mina’s Reckoning” is an entrancing theatrical exploration that reinvigorates the timeless tale, inviting audiences to experience the haunting allure of Count Dracula and the indomitable spirit of Mina Murray.
*
The ensemble cast of Natalie Arle-Toyne, Maggie Bain, Catriona Faint, Anne Lacey and Ros Watt. are without exception, excellent.
*
*
The set design, created by Kenneth MacLeod, is nothing short of extraordinary. Every detail has been thoughtfully crafted to create a world that is both mesmerizing and captivating. From the moment the curtains rise, the audience is transported to a realm where imagination and reality intertwine.
*
The play of light and shadow, meticulously choreographed by the skilled lighting designer, adds an extra layer of depth to the set. The subtle nuances and strategic placement of lights accentuate the intricate details of the set design, bringing it to life in a way that is both breathtaking and ethereal.
*
The use of colour in the set design is also worth mentioning. The rich, vibrant hues create a visually stunning backdrop for the actors to inhabit. From the dark tones of the Asylum to the red tones blood , every colour has been carefully chosen to evoke emotion and set the mood for each scene.
*
The performance at His Majesty’s Theatre, Aberdeen runs until Saturday 9th September. From there it goes to the Theatre Royal, Glasgow; Macrobert Arts Centre, Stirling; Eden Court, Inverness; Dundee Rep; Festival Theatre, Edinburgh, Belgrade Theatre, Coventry and Liverpool Playhouse to 28 October 2023.
For more information go to Aberdeen Performing Arts
*