One of my favorite things about any We Happy Few prolongation is a vitality and fun with that a performers chuck themselves into a work.
The story, like Bram Stoker’s strange Dracula, is told by a array of epistolary devices, essentially letters, with a good brew of telegrams and ships’ logs and a like. At times it deeply revels in a possess language, and during other times it clips along during a light and pointy pace. These are a moments in that a uncover unequivocally excels; functioning roughly like opera, with recitative to pierce a gait and aria to excavate into a romantic meat.
With unconstrained adaptations of Dracula, (Gerard Butler in Dracula 2000 anyone?), I’m so gratified that We Happy Few chose to lapse to a strange novel, a source of so many of a misconceptions surrounding some of a favorite abnormal hunters. and that we initial saw in a developmental theatre during a Kennedy Center’s Page to Stage.
The 4 performers, Meg Lowey, Kerry McGee, Jack Novak, and Jon Reynolds duty with purpose and precision, bringing life scarcely forty characters. They trip skilfully in and out of those characters, mostly with a tiny square of dress or an accent switch, or pristine physicality. McGee is a bit of a dervish as she whips about a stage, fast glow delivering events as they start while spasmodic holding a impulse to yield commentary. She switches skilfully between Jonathon Harker, a accursed Renfield, and a trusting incited diabolical Lucy. Lowey’s voice stands as a star of a night, singing vivid songs as if she were a vision on a heaths. Lowey also shows us a dynamic and intelligent Mina Harker. Novak ably serves adult his dual characters, one of whom, Dracula, is achieved wholly in conformation with Reynolds who rounds out a garb as Van Helsing, and a Ship’s Captain.
closes Nov 10, 2018
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The garb lurks in a shadows, available their turns, while behaving pieces of cunning with shade puppets and flashlights, most to a pleasure of a assembly and providing a music, trimming from rough and baudy Gogol Bordello-like numbers, churned with what sound like vivid Irish and English folk song, and during one indicate complicated rock. It is an heterogeneous brew of instruments – an accordion, guitars, a tambourine, and a ukulele – and styles that, like a genres they’ve comparison to paint Dracula, doesn’t always mesh. In this world, a anachronisms mount out like bruise thumbs, generally in a face of a Victorian denunciation that they have selected to retain. Director Robert Pike creates intrepid efforts to keep a gait and vigour of a square up, though a rumble of elements keeps Dracula from truly unifying into a cohesive whole.
The choice to keep Dracula always cloaked in conformation might be a good one, adding to his mystique and permitting a audience’s imaginations to emanate a images. But it removes any clarity of a Count’s sensuality. Dracula is mostly described to us as “gaunt” and awful looking, nonetheless there is this interest to him; a hypnotism of a vampire.
Most of a sorcery of a uncover is finished in front of us, in terms of foley and shade puppet tricks. While many of a shade play moments are neat and crafty tricks of light and shadow, we always see how they’re done. And we infrequently see a actor contorting comically into a figure compulsory to make a shade of Dracula work. When a wizard shows us how he pulls a rabbit out of a hat, we’re never utterly as enthralled.
Despite a flaws, I’m still vehement to come behind and see what a group has finished with a other dual shows in their Horror Rep during a Capitol Hill Arts Workshop.
Dracula runs in repute with a company’s adaptations of Frankenstein (Mary Shelley) and A Midnight Dreary (Edgar Allan Poe). Individually, these are monstrously desirous projects. All 3 together? A trifecta of scary treats for those sticking desperately to a vestiges of Halloween.
Dracula by Bram Stoker. Adapted for a Stage by a devising garb of Grant Cloyd, Keith Hock, Meg Lowey, Kerry McGee, Robert Pike, and Jon Reynolds. Direction by Robert Pike. Featuring Meg Lowey, Kerry McGee, Jack Novak, and Jon Reynolds. Lighting Design: Dan Smeriglio. Costume Supervision: Paige O’Malley. Production Manager: Kerry McGee and Jon Reynolds. Dramaturgy: Keith Hock. Stage Management: Sam Reilly. Produced by We Happy Few . Reviewed by Jon Jon Johnson.