The KCS Theatre Company know all about bringing gothic literature to life on stage. Their previous show, an adaptation of Oscar Wilde’s The Portrait of Dorian Gray, went down a storm. Now, they are raising the bar further by breathing new life into Bram Stoker’s definitive classic, Dracula. And they are not to be underestimated. Those who have previously sunk their teeth into Dracula and its lore might feel a bit short-changed, but this remains a thrilling new take on Stoker’s work that boasts imagination in spades. 

The decision to add elements of physical theatre into the retelling of Dracula proves to be inspired. This hyper-stylisation allows the full allure and horror of the vampire to manifest itself in the minds of his victims. Convincing too is how the ensemble cast adapt themselves to form a living set of carriages, beds, and lampposts. Compared to artificial set dressing, it emphasises how much humanity ebbs and flows throughout every scene, and what is at stake for the heroes of the story. Every performance is convincing, with Dracula in particular proving he can send a shiver down your spine with little more than a look. 

Dracula doesn’t start on the most solid of foundations however. The opening scenes struggle for atmosphere, causing you to worry the troupe have bit off more than they can chew. While this isn’t so, this condensed retelling of Stoker’s story can’t get into enough satisfactory detail and depth. Key moments feel unaddressed in full; Jonathan Harker’s meeting with Dracula feels rushed, and the symbolic significance of moments such as the repeated blood transfusions escapes major consideration. Compressing Dracula into an hour-long play and still leaving room for periods of stylised movement is no easy task, particularly when the script also toys with the order of events as presented in the book. This process feels like it has come at the expense of the rich detail that gives Stoker’s novel such longevity. The score too, while mostly fantastic and spooky, is let down by a climactic track that feels too much like an edgy pop song. 

This is far from the most comprehensive adaptation of Dracula or the best introduction to Stoker’s work, but this is nevertheless an accomplished and experimental new take on the grandfather of vampire stories. KCS Theatre are a skilled group of performers who know how to make tried and tested stories sing once again, even if they hit the occasional bum note. 

Dracula has ended its run